Pompey, from the past

I continue the story of small towns from the series "small and daring".

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On these pages, I have taken upon myself a great responsibility to present to you, dear readers, a small city of big Italy - Pompeii.

I am sure that many of you, who have visited the south of Italy, did not ignore the great Vesuvius and did not deny yourself the pleasure of making a journey into the depths of the centuries, i.e. visit Pompeii.

Before traveling to Italy, I knew a little about this city, my knowledge was practically limited to the famous painting by Bryullov "The Last Day of Pompeii", but, preparing for the trip, I decided that the picture would be incomplete if I did not delve into history and try to understand how they lived people in this ancient city, what were their interests, habits, preferences and why their life ended so unexpectedly.

So, what has reached us from time immemorial?

Archaeologists date the founding of Pompeii to the middle of the 6th century BC, then Pompey did not stand out in any way against the background of the rest of the cities of Campania (this is the name and is now called the fertile region of the Apennine Peninsula, where the city of Pompeii was located).

Much later, in the 1st century. BC NS. Pompeii turns into a cultural center. An amphitheater for 20 thousand spectators, the Odeon, numerous buildings, streets are being built. The city is decorated with sculptures, mosaics, frescoes. These were the times when special attention was paid to architecture in the Roman Empire: aqueducts and bridges, baths and amphitheaters, villas and numerous residential buildings were built.

February 5, 62 A.D. the first warning of an impending catastrophe sounded - in Campania there was a powerful earthquake with an epicenter in the vicinity of Pompeii. The city was destroyed. Up to this point, there were slight tremors in the city, which did not cause tangible damage. By this time, the feeling of danger among the inhabitants had dulled.

For the next 15 years, Pompeii was under construction - the inhabitants of the city restored houses destroyed by an earthquake and built new buildings.

Oddly enough, the townspeople, despite the cruel lesson of fate, did not take Vesuvius seriously and did not expect further troubles from him.

The tremors did not really bother the townspeople. Each time they repaired cracks in houses, simultaneously updating the interior and adding new decorations. No panic.

But in October 79 A.D. Vesuvius, who was sleeping until now, woke up completely and unleashed all his might on the city, as if taking revenge on people for many years of neglect of his great person.

Tremors, ash flakes, stones falling from the sky - all of this flew at great speed to the city. People tried to hide in houses, but died there from suffocation or under the ruins. Death overtook everywhere: in theaters, in markets, forums, in churches, on the streets of the city, beyond its borders. But most of the residents still managed to leave the city.

Vesuvius raged all day. Pompey was covered with a multi-meter layer of ash. Dust and ash hung in the sky like a black veil for the next three days. The city died irrevocably.

Bryullov's painting "The Last Day of Pompeii"

“Striving for the greatest reliability of the image, Bryullov studied the materials of the excavations and historical documents. The architectural structures in the picture were restored by him from the remains of ancient monuments, household items and women's jewelry were copied from the exhibits in the Museum of Naples. The figures and heads of the depicted people were painted mainly from life, from the inhabitants of Rome. Numerous sketches of individual figures, entire groups and sketches of the painting show the author's aspiration for maximum psychological, plastic and coloristic expressiveness.

Bryullov constructed the picture as separate episodes, at first glance not connected with each other. The connection becomes clear only when all the groups, the whole picture, are simultaneously covered with a glance "

One hundred great paintings "N.A. Ionin, publishing house" Veche ", 2002.

Thanks to the sudden and rapid death of Pompeii, it turned out to be the best preserved ancient city, since the entire furnishings of the houses remained intact under a layer of solidified lava.

By now, archaeologists have discovered 3/5 of the city (the rest was decided to be left to future generations!): Defensive walls, gates, necropolises, quarters of residential buildings with mosaics, frescoes and sculptures, two forums, an amphitheater and two theaters, temples and much more are available for inspection.

Let's enter the gates of the city of Pompeii.

Suddenly, right next to the gate, barely crossing the threshold, at the entrance to the city, I saw a well-preserved image of the phallus on the floor tiles.

Blimey! - I was dumbfounded - it was a cheerful little town, however!

- Isn't it true that they acted more than extravagantly in ancient times?

I can't even imagine how it would start if people now tried to behave in the same way ... - approx. the author.

Plates depicting she-wolves or phalluses, previously hung on houses, have long been in the museums of Naples, and one can only believe the guides that they once hung here and here. The ancient gentlemen did not hesitate to boast, if there was anything, and ordered the artists special plaques depicting their dignity and its size, which they attached over the threshold of their house.

It is easy to guess what an extraordinary city Pompey was and why sailors and warriors always rushed there. There were plenty of Luponarii in the city: they were located in hotels and in private houses on the second floors, or on the first with a separate entrance, only they were not in the baths and thermal baths. (paradox, in our time, intimate services thrive just in the baths! - author's note)... The Romans loved to wash and did not want to be distracted from this sacred occupation for different

They are easy to understand, there were no bathrooms in houses in which we perceive the lack of hot water for two weeks as a natural disaster! The ancients had to go to public institutions, where they managed to combine business with pleasure: they could wash and meet with friends and neighbors. - approx. the author.

Amusing frescoes have been preserved in the Luponarii, which tuned visitors to the desired mood, these frescoes should not be shown to children. Many frescoes of an erotic nature are found in private houses, which indicates the serious attitude of the former owners to issues of sex. Taking a closer look, you will be surprised to find that there is little in the services of an intimate nature that has changed since ancient times.

Europeans in Pompeii will find doorways narrow, ceilings low, boxes short, rooms small. Ancient people were small in size, about the size of modern Japanese.

In Pompeii, you will find many marble columns, which now do not support anything, except perhaps the sky, mosaics, frescoes, picturesque ruins, an ancient toilet and the remains of an ancient aqueduct.

Only rich houses, fountains and baths were connected to the water supply. Ordinary townspeople took water from fountains, so there is no sign of running water in their homes. Only large containers for collecting rainwater have survived.

Life-size plaster figures of ancient inhabitants are on display.

Nowadays there are about 30 streets and alleys in Pompeii. The houses were mostly two-story, located towards the street with a blank wall, which suggests that the ancient people had no desire to display their personal lives. The whole city blocks were occupied by baths, the favorite places of leisure of the townspeople. Other places of leisure and entertainment are located peripherally, theaters are concentrated there. The city is surrounded by a fortress wall with several gates.

For theater performances, the seats are installed and then removed.

In Pompeii, the principle of "sparing" restoration is applied, implying the restoration and restoration of only a small percentage of buildings or individual structural elements. The purpose of this approach is to show, i.e. to hint at how this or that object could look in its completed form, to allow analogies with other objects, while not breaking the connection with the authentic archaeological heritage - note. architect

Further excavations are practically not carried out, because there is an acute issue of preserving what has already been disclosed.

Nowadays, a new enemy is advancing on Pompeii - a variety of vegetation that breaks through everywhere, inexorably continuing the process of destruction of the city. The means of struggle against this enemy have not yet been found.

Visually vegetation gives a certain charm to the city. The red heads of flowering poppies, here and there, slender young trees swaying from the light breeze enhance the feeling of peace and abandonment, recalling the peaceful life and the tragedy that once broke out here.

Karl Bryullov lived in Italy for more than four years, before reaching Pompeii in 1827. At that time, he was looking for a plot for a large picture on a historical theme. What he saw amazed the artist. It took him six years to collect material and write an epic canvas with an area of ​​almost 30 m 2. In the picture, people of different sex and age, occupation and faith, caught in a catastrophe, rush about. However, in the motley crowd, you can see four identical faces ...

In the same 1827, Bryullov met the woman of his life - Countess Yulia Samoilova. After parting with her husband, a young aristocrat, a former maid of honor, who loved a bohemian lifestyle, moved to Italy, where morals are freer. Both the countess and the artist had a reputation for heartthrobs. Their relationship remained free, but long, and the friendship continued until Bryullov's death. "Between me and Karl, nothing was done according to the rules," Samoilova later wrote to his brother Alexander.

(19 images total)

Karl Bryullov, "Portrait of Countess Yulia Pavlovna Samoilova, retiring from the ball with her adopted daughter Amatsilia Pacini", 1839-1840, fragment.

Julia with her Mediterranean appearance (it was rumored that the woman's father was an Italian Count Litta, her mother's stepfather) was an ideal for Bryullov, moreover, as if created for an antique plot. The artist painted several portraits of the countess and "presented" her face to the four heroines of the painting, which became his most famous creation. In The Last Day of Pompeii, Bryullov wanted to show the beauty of a person even in a desperate situation, and Yulia Samoilova was for him a perfect example of this beauty in the real world.

Researcher Erich Hollerbach noted that the similar heroines of The Last Day of Pompeii, despite social differences, look like representatives of one big family, as if the disaster brought together and equalized all the townspeople.

“I took this scenery from nature, not retreating in the least and not adding, standing with my back to the city gates in order to see part of Vesuvius as the main reason,” Bryullov explained in a letter to his brother the choice of the scene. This is already a suburb, the so-called Road of Tombs, leading from the Herculaneum gate of Pompeii to Naples. Here were the tombs of noble townspeople and temples. The artist sketched the location of the buildings during the excavation.

According to Bryullov, he saw one female and two children's skeletons, covered with volcanic ash in these positions, at the excavations. The artist could associate a mother with two daughters with Yulia Samoilova, who, having no children of her own, took two girls, relatives of friends, into the upbringing. By the way, the father of the youngest of them, composer Giovanni Pacini, wrote the opera The Last Day of Pompeii in 1825, and the fashionable production became one of the sources of inspiration for Bryullov.

Christian priest. In the first century of Christianity in Pompeii, there could be a minister of the new faith, in the picture it is easy to recognize him by the cross, liturgical utensils - censer and chalice - and a scroll with a sacred text. The wearing of pectoral and pectoral crosses in the 1st century has not been confirmed archaeologically.

Pagan priest. The status of the character is indicated by the objects of worship in his hands and the headband - infula. Bryullov's contemporaries reproached him for not bringing to the fore the opposition of Christianity to paganism, but the artist did not have such a goal.

Items of pagan worship. The tripod was intended for incense to the gods, ritual knives and axes - for the slaughter of sacrificial cattle, a vessel - for washing hands before performing the rite.

The clothing of a citizen of the Roman Empire consisted of a lower shirt, tunic and toga, a large piece of almond-shaped woolen cloth draped around the body. The toga was a sign of Roman citizenship, the exiled Romans lost the right to wear it. The priests wore a white toga with a purple stripe along the edge - toga praetexta.

Judging by the number of frescoes on the walls of Pompeii, the profession of a painter was in demand in the city. As an ancient painter, running next to a girl with the appearance of Countess Julia, Bryullov portrayed himself - this was often done by the masters of the Renaissance, whose work he studied in Italy.

According to art critic Galina Leontyeva, the Pompeian tree that fell from the chariot on the pavement symbolizes the death of the ancient world, which the artists of classicism yearned for.

The things that fell from the box, like other objects and decorations in the painting, were copied by Bryullov from bronze and silver mirrors, keys, lamps filled with olive oil, vases, bracelets and necklaces that belonged to the inhabitants of Pompeii in the 1st century A.D. found by archaeologists.

As conceived by the artist, these are two brothers rescuing a sick old father.

Pliny the Younger with his mother. An ancient Roman prose writer who witnessed the eruption of Vesuvius described it in detail in two letters to the historian Tacitus. Bryullov put the scene with Pliny on the canvas "as an example of child and mother's love", despite the fact that a disaster overtook the writer and his family in another city - Mizenah (about 25 km from Vesuvius and about 30 km from Pompeii). Pliny recalled how he and his mother got out of Mizen in the midst of an earthquake, and a cloud of volcanic ash was approaching the city. The elderly woman found it difficult to escape, and she, not wanting to cause the death of her 18-year-old son, persuaded him to leave her. “I replied that I would be saved only with her; I take her by the arm and make her step up, ”said Pliny. Both survived.

Goldfinch. During a volcanic eruption, birds died on the fly.

According to the ancient Roman tradition, the heads of newlyweds were decorated with flower wreaths. A flammey fell from the girl's head - the traditional veil of the ancient Roman bride made of thin yellow-orange fabric.

A building from the Road of Tombs, the resting place of Aulus Umbricius Skavr the Younger. The tombs of the ancient Romans were usually built outside the city on either side of the road. During his lifetime, Skavr the Younger held the position of duumvir, that is, he stood at the head of the city administration, and was even awarded a monument at the forum for his merits. This citizen was the son of a rich garum fish sauce merchant (Pompeii was famous for him throughout the empire).

Seismologists, by the nature of the destruction of buildings depicted in the picture, determined the intensity of the earthquake "according to Bryullov" - eight points.

The eruption, which occurred on August 24-25, 79 AD, destroyed several cities of the Roman Empire located at the foot of the volcano. Of the 20-30 thousand inhabitants of Pompeii, about two thousand were not saved, judging by the found remains.

Self-portrait of Karl Bryullov, 1848.

1799 - Born in St. Petersburg in the family of the academician of ornamental sculpture Pavel Bryullo.
1809-1821 - Studied at the Academy of Arts.
1822 - At the expense of the Society for the Encouragement of Artists departed for Germany and Italy.
1823 - Created Italian Morning.
1827 - Painted the paintings "Italian noon" and "A girl picking grapes in the vicinity of Naples."
1828-1833 - He worked on the painting "The Last Day of Pompeii".
1832 - He wrote The Horsewoman, Bathsheba.
1832-1834 - Worked on "Portrait of Yulia Pavlovna Samoilova with Giovanina Pacini and arapchonok".
1835 - Returned to Russia.
1836 - Became a professor at the Academy of Arts.
1839 - Married the daughter of the mayor of Riga, Emilia Timm, but divorced two months later.
1840 - Created "Portrait of Countess Yulia Pavlovna Samoilova, retiring from the ball ...".
1849-1850 - He went abroad for treatment.
1852 - Died in the village of Manziana near Rome, buried in the Roman cemetery Testaccio.

Material prepared by Natalia Ovchinnikova for the magazine "Around the world"... Published with permission from the journal.

K. Bryullov. Self-portrait. (romanticism)

Born into the family of an artist, academician, teacher of the Academy of Arts. Already in childhood, his father worked with him a lot, which could not but leave an imprint on his work. In his works, he usually followed the style of classicism (an artistic style, translated from Latin as "exemplary", which took the traditions of antiquity and the Renaissance as the ideal. Classicism raises the heroic, high civic consciousness, a sense of duty, condemns vices.), Which it persistently introduced within its walls Academy of Arts. However, as we will see, the trends did not leave Bryullov indifferent either. He brilliantly graduated from the Academy, received the Grand Gold Medal, and then improved his skills in Italy, where he quickly achieved European recognition. The plots of many of his paintings are inspired by Italian motives. Bryullov owns canvases on historical and mythological themes, and on everyday subjects. He also painted illustrations for literary works and a lot of portraits.

The Last Day of Pompeii (1833)

The painting recreates the death of the ancient city of Pompey during the eruption of Mount Vesuvius in 79 AD. It is a huge canvas 4.5 meters high and 6.5 meters long.

The most complex landscape background, multi-figured composition demanded physical and creative energy. The success of the painting is explained by the stormy drama of the scene, brilliance and brightness of colors, compositional scope, sculptural clarity and expressiveness of forms.

Vesuvius opened its mouth - smoke poured out, a club of flame

Widely developed like a battle banner,

The earth is agitated - from the reeling columns

Idols are falling! A people driven by fear

Under the stone rain, under the sore dust

In droves, old and young, running out of the city.

The main thing is that the painter has convincingly shown: no, the most merciless and inevitable forces are able to destroy a person in a person. Looking at the picture, you notice that even in the moment of death, each of the depicted is not so much looking for salvation for himself, as striving, first of all, to save people who are close and dear to him. So, the man in the very center of the picture, stretching out the open palm of his left hand to the formidable sky, protects not himself from falling stones, but his wife, whom he covered with his cloak. The woman, bending over and bending her whole body forward, tries to cover the children with her body.

Here are grown children trying to take out their old father from under the fire. Here the mother convinces her son to leave her, to save himself. And here is the groom with the dead bride in his arms.

Of course, not all people are equally loyal and decent. The picture contains both animal fear, forcing the rider on horseback to quickly save himself, and the unquenchable greed with which the priest appropriates church treasures, taking advantage of the general panic. But there are not many of them.

Yet the picture is dominated by nobility and love.

The work of Bryullov bears a vivid imprint of the influence of romanticism. This can be seen both in the choice of the theme and in the fiery color of the picture. But on the other hand, here you can also see the influence of classicism, to which Bryullov has always been faithful - the figures of people are very reminiscent of perfect antique sculptures. The triumph experienced by Bryullov's creation was known to a few works of art.

The famous English writer Walter Scott spent two hours near the painting and assessed the creation of the Russian master as a historical epic. When the author set foot on his native land, he was warmly honored already in Odessa (he arrived by sea), and especially enthusiastically in Moscow. It was in the "first throne" that the artist was greeted with poetic stanzas by E.A. Baratynsky:

You brought peace trophies

With you in the fatherly shade,

And it became "The Last Day of Pompeii"

For the Russian brush, the first day!

Self-portrait (1848)

This self-portrait is considered one of the best in the world of painting. In it, the artist conveyed the mood that took possession of him at the end of his life. Bryullov at that time was seriously ill. The master depicts himself reclining in a chair. The red pillow on which the head rests wearily emphasizes the painful pallor of the face. The hand of an emaciated hand, powerlessly lowered from the armrest, enhances the motive of physical suffering. However, one feels that mental anguish is added to physical suffering. The look of sunken, tired eyes expressively speaks of them. This masterpiece was completed in just two hours.

Portrait of Yulia Samoilova with her pupil

This picture is the peak of Bryullov's work as a portrait painter. This is a triumphant manifestation of beauty and spiritual strength of an independent, bright, free personality. Bryullov and Yulia Samoilova loved each other. They met in Rome, and their love was facilitated by the generous Italian nature. The artist depicted her together with the pupil leaving the living room of the house: impetuous, impetuous, dazzlingly beautiful, captivating with fragrant youth and passion of nature. The artist Kiprensky said that it is so successfully possible to create a portrait of a woman whom you not only endlessly admire, but whom you love passionately, madly ...

The second name of the picture is "Masquerade". This is the main idea of ​​the artist.
There, in the back of the hall, there is a masquerade. But in the world of lies, Samoilova, full of human dignity, dismissively threw off her mask and proudly shows her open face. She is sincere. She does not hide her love for the artist, who was condemned at this ball, and her attitude to society, which she and her niece are demonstratively leaving.
And there, in the back of the hall, the crowd in masks continues to have fun, there are representatives of the high society who are used to saying one thing, doing another, and thinking the third. There is a completely false society, with which Bryullov's views so often did not coincide. Samoilova played a huge role in the artist's life - she supported him both materially and spiritually during the difficult moments of Bryullov's life.

Bakhchisarai fountain (1849)

Picture-illustration of the poem of the same name by Pushkin. He portrayed the "timid wives" of Khan Girey in the garden by the pool, watching the movements of fish in the water. A eunuch is watching them. With interest and delight, the artist conveys the exoticism of the East: bizarre oriental costumes, lush luxury of nature - all this gives the picture a festive decorative effect. There is no drama in the picture. like in a poem. The idyllic mood makes her a pictorial illustration of poems:

Waiting carelessly for the khan

Around the playful fountain

On silk carpets onet

They sat in a crowd

And they looked with childish joy,

Like a fish in clear depth

On the marble bottom walked.

Deliberately to her bottom others

They dropped gold earrings.

Italian Afternoon (1827)

The model for this painting was a commoner Roman woman - a plump, chubby person whom he portrayed picking grapes. Standing on the stairs, in her left hand she is holding a basket of grapes, and with her right hand she is going to pick a bunch of grapes, but admired the play of light in the berries filled with amber. The artist caught her in this occupation. The generous Italian sun shines through the green foliage, burns with gold in the fruit of the grapes, flares up with a bright flame on the purple cape thrown over the young woman's left hand, in the blush of her cheeks, in the curl of scarlet lips, penetrates her lush bust, which was bared by a blouse that had slipped from her shoulder. "Italian Afternoon" is a mature, blooming woman, matched by the ripe and juicy fruits nurtured by the Italian sun. A riot of light and color, typically Italian, southern-style faces do not need to show their surroundings in order to emphasize the scene.

Portrait of the Shishmarev sisters (1839)

A ceremonial portrait of the daughters of the famous theater lover and artist Shishmarev. The portrait is painted in the form of a genre painting, the Sisters are depicted descending the marble staircase into the garden. A dog rushes at their feet. Below is an Ethiopian servant holding the Arabian horses. The movements of the "Amazons" are smooth and beautiful. Their costumes are exquisite. Deep and rich color of blue, crimson, black clothes.

Bathsheba (1832)

The picture is written on a biblical subject. Bathsheba is the wife of Uriah, a friend of King David. David killed Uriah and made Bathsheba his wife, and she bore him a son, the future King Solomon, famous for his wisdom. The artist combined ideal beauty with life's truth in the picture. He paints the beauty of the female body, but for all the sculptural forms that remind of classicism, this beauty is not cold, but alive, warm. The mythological plot in the spirit of romanticism is colored with the spice of oriental exoticism: the snow-white beauty of Bathsheba is set off by the dark-skinned body of a negro.

Girl picking grapes.

The painting was painted in 1827. This is a scene from rural life, seen in one of the Italian towns. Bryullov turned it into an elegant ballet performance.

The young peasant woman, like a graceful dancer, rose on her half-fingers and stretched out her flexible arms, barely touching a vine with a bunch of black grapes. The musicality of her pose is emphasized by a light dress - a tunic, which is tight-fitting slender legs. A string of coral sets off a slender neck and a ruddy face framed by curly brown hair.

Another girl reclining freely on the steps of the house. tinkles with the bells of a tambourine and coquettishly glances at the viewer.

The little brother in a short shirt intervenes in the merry company - a kind of bacchanal cupid who is dragging a bottle for wine.

Guessing Svetlana

On Christmas Eve, the girls are guessing at the betrothed. So Svetlana, looking in the mirror, is wondering. This is a girl from the people - in a kokoshnik, in a sundress, with beads on her chest. The artist, of course, greatly embellished the portrait - girls from the people do not dress like that. Svetlana peers into the mirror and whispers some spells. The girl passionately utters magic words, her eyes peering imploringly into her face, as if she herself is waiting for the fulfillment of her desire. A burning candle stands nearby, illuminating the girl's face.

Portrait of N. N. Goncharova. 1832

This is the only portrait of Pushkin's wife, created during the poet's lifetime. This is a true masterpiece of Russian watercolor painting.

The artist does not delve into the character of the young lady. He is wholly influenced by the beauty and charm of youth. Therefore, all the attention of the viewer is riveted to her youth, to the cuteness of an almost childish face, and an elegant toilet. She was only 18 years old.

In the portrait, the beautiful Natalie has earrings with expensive diamonds in her ears. Poor Pushkin borrowed them for a ball for his beloved wife from his friend, Peter Meshchersky. When the poet saw them on his wife, he insisted that Bryullov paint a portrait in these earrings. It should be said that according to legend, these diamonds were not simple, but "Shirinsky diamonds" - they are referred to as historical "fatal precious" stones. It was considered. that they should not be worn by women who do not belong to the Meshchersky family.

Looking at this portrait by Bryullov, one involuntarily recalls the lines from Pushkin's poem dedicated to his beloved wife:

In my simple corner, in the midst of slow labors,

I wished to be a spectator of one painting forever,

One: so that at me from the canvas, like from the clouds,

Most pure and our divine savior ...

My wishes came true. Creator

He sent you to me, you, my Madona,

The purest charm, the purest specimen.

Paired portrait of E. Mussard and E. Mussard (1849), watercolor

On the advice of doctors in 1849, Bryullov left for the island of Madeira, where he stayed for about a year. Here, among a small colony of Russians, the artist met the beautiful couple Mussard. Evgeny Ivanovich Mussard was the secretary of Duke Maximilian of Lichtenberg and his wife, Grand Duchess Maria Nikolaevna. The artist undertook to paint a portrait of the Mussar spouses. Equestrian portrait, ceremonial. Bryullov was very fond of painting such portraits. And although this is a watercolor, the artist masterfully managed to convey the texture of clothes and the beauty of accessories. But their brilliance does not prevent you from admiring the beautiful Mussard couple on a walk and the article of their magnificent horses.

Death of Inessa de Castro (1834)

Before us is a drama from the life of the Castilian king Alfonso IV of Portugal. The courtier of the wife of the king's son Don Pedro Inessa captivated the Infanta with her beauty, who, after the death of his wife, secretly married her, tk. the father had another candidate for his son's wife. The king's advisers found out the secret of his son and gave it to Alphonse.

Don Pedro refused to marry his father's applicant. Then, by decision of the Royal Council, it was decided to kill Inessa. After waiting for the moment when Don Pedro went hunting, the king with his advisers went to Inessa. When Inessa realized what awaited them, she threw herself at the feet of the king. The unhappy woman sobbed, begging for her life. At first, the king took pity on the young woman, but the advisers persuaded not to give in to unnecessary pity and killed the mother of two children.

Don Pedro did not forgive his father for such treachery, and after his death he found the direct killers and executed them. The artist managed to convey the feelings of a mother, passionately pleading with her killers. The king and his henchmen are depicted in dark gloomy tones, the figures of Inessa and the children stand out as a bright spot. And again, in the depiction of a woman, Bryullov remains faithful to classicism, and in choosing a theme, in depicting passion, he tends to romanticism.

Horsewoman (1823)

Perhaps the most famous portrait by Bryullov. Before us are the pupils of Countess Samoilova - Giovanna and Amatsilia Pacini. This is a ceremonial portrait-painting: a young beauty Giovanna in the form of an Amazon reined in her horse in front of the veranda of the house, dogs and a little girl ran out to meet her, she looks at her sister with admiration and adoration. The portrait is, as it were, filled with movements and sounds: the dogs are barking, it seems, you can still hear the echo of the stomping of children's feet in the echoing corridors of the palazzo. The horse is hot, but the rider herself calmly sits on his broad back. With great skill, Bryullov writes the rider's waving emerald gauze scarf against the background of the dark greenery of the park - green on green. The wipe is imbued with a joyful sense of admiration for the festive wealth and diversity of life.

The city in the painting by Bryullov

First letter "p"

Second letter "o"

Third letter "m"

The last beech letter "and"

The answer to the question "The city in the picture of Bryullov", 6 letters:
Pompeii

Alternative crossword questions for pompeii

City in italy

Vesuvius sacrifice

The novel by the Russian writer Evgeniya Tour "The Last Days ..."

A disaster film directed by Paul W.C. Anderson

City in Southern Italy

Ancient city, died in a volcanic eruption

Definition of the word pompeii in dictionaries

Wikipedia Definition of a word in the Wikipedia dictionary
Pompeii is an ancient Roman family (nomen), probably originating from Picena, a region in central Italy. Probably, Pompeii came from some Italic tribe, which received in the II century. BC NS. Roman citizenship rights

Encyclopedic Dictionary, 1998 The meaning of the word in the dictionary Encyclopedic Dictionary, 1998
POMPEI (Pompei) city in the South. Italy. 23 thousand inhabitants (1981). Located at the foot of Mount Vesuvius. The population is mainly engaged in serving tourists. Geophysical Observatory. Near Pompeii, the ruins of the ancient city of Pompeii, covered by a volcanic eruption ...

Great Soviet Encyclopedia Definition of the word in the dictionary Great Soviet Encyclopedia
(Pompei; until 1928 ≈ Valle di Pompei), a city in southern Italy, in the Campania region, in the province of Naples. Located on the shores of the Gulf of Naples, at the foot of the Vesuvius volcano, 22 km to the south-east. from the city of Naples. 22,700 inhabitants (1968). The city's population is busy ...

Examples of the use of the word pompeii in literature.

Finally, the final decision to sail to Egypt, which turned into a disaster, was made literally at the last minute, when out of respect for the feelings of his wife Pompeii refused to seek refuge where only the defeated Roman leader could safely hide - in the Parthian Empire.

Figurative painting Pompeii and Herculaneum is full of artistry and cheerfulness and incomparably more natural and realistic than the painting of Egypt or Babylon.

Pompeii with his legions, Caesar from the west, and Pompeii from the east, entered into an open struggle for power in the Roman state.

Cyrus and Alexander, Darius and Xerxes, Caesar and Pompeii- they all made very interesting trips, but, by and large, they cannot be put on the same level with campaigns that concerned a much larger part of humanity, which took place on the other side of Asia.

Due to the fact that the Jews did not attempt to destroy the siege on Saturday, Jerusalem was able to take Pompeii Great.

Karl Pavlovich Bryullov(1799 - 1852),

Painter.

Self-portrait

Karl Bryullov was born on December 12, 1799 in St. Petersburg. He grew up in an artistic family: his brothers, father, grandfather, great-grandfather were artists.
He successfully graduated from the Academy of Arts, where his father taught. Thanks to rare talent and a fair amount of home preparation, from the first steps he stood out sharply among his peers.

In 1821, the Society for the Encouragement of Artists was established in St. Petersburg, the main goal of which was to help artists in every possible way and to promote the widespread dissemination of all fine arts. It was Karl Bryullov and his brother Alexander who were the first to go with the money of the Society to Italy, to Rome.

Portrait of the architect A.P. Bryullov, the artist's brother

And on the eve of their trip abroad, their original surname "Bryullo" was given a Russian ending, both became "Bryullov" from now on. Young Russian artists thoroughly familiarized themselves with the history and art of Western Europe.

Portrait of Empress Alexandra Feodorovna. 1837

There Karl painted the painting "Italian Morning", which made him an unusually popular artist.

Italian morning

His heroine, washing herself under the streams of a fountain, penetrated by the sun's rays, airy-light, is perceived as the personification of the very morning, the morning of a rising new day, the morning of human life.

Italian noon

Great Karl - this is how the contemporaries of the remarkable Russian artist Karl Pavlovich Bryullov called them during his lifetime. Worldwide recognition brought Bryullov a huge canvas painted by him in Italy "The Last Day of Pompeii". The name of Karl Bryullov was now placed next to the names of Rubens, Rembrandt, Van Dyck.

The last day of Pompeii

The plot of the painting "The Last Day of Pompeii" is the death of the ancient city of Pompeii as a result of the eruption of Mount Vesuvius in 79 AD. Working on the implementation of his plan, he carefully studied the historical material, in particular the testimony of an eyewitness to the catastrophe - the Roman writer and statesman - Pliny the Younger, went to the site of archaeological excavations, where he made many sketches and sketches from nature.
The tragic death of people during the eruption of Vesuvius, the poetics of feelings, the greatness of the human spirit in front of the blind elements illustrated the artist's dramatic perception of life.

In 1836, K.P.Bryullov returned to Russia and took up the post of professor at the Academy of Arts.

In St. Petersburg, the artist created a gallery of portraits of his contemporaries.

Rider

Portrait of Yu.P. Samoilova with her adopted daughter Amalia in 1842.