Book: D.A. Rovinsky "A detailed dictionary of Russian engraved portraits

Rovinsky D.A. A detailed dictionary of Russian engraved portraits. 2 volumes. SPb., Printing house of the Academy of Sciences, 1889. 26.4 x 19 cm. In two modern half-leather bindings with gold embossing between the bandages on the spine. Excellent preservation. Professional restoration of several sheets. Rarity.

Volume 1. A-O. XVI p., 1204 stb.
Volume 2. P-Feta; p., 1205-1888 stb., c., 880 stb.

Dmitry Alexandrovich Rovinsky (1824-1895) - lawyer, archaeographer, art historian, the largest collector of prints and prints, honorary member of the St. Petersburg Academy of Sciences (since 1883), honorary member of the Academy of Arts (since 1870). Even in his youth, he began to collect his unique in richness and completeness collection of European and Russian engravings, as well as Russian popular prints, besides this D.A. Rovinsky deeply studied the subject of his passion. The result was fundamental research and catalogs, which are still of great scientific interest: "Russian folk pictures" (vols. 1-5. 1881) with an atlas in 4 books (1881-1893), "A detailed dictionary of Russian engraved portraits" (vol. . 1-4 - 1886-1889, vols. 1-2 - 1889), "A detailed dictionary of Russian engravers of the 16th - 19th centuries." (v. 1-2. 1895) and others.

This publication includes information about 10,000 engraved portraits published in Russia in the 17th-19th centuries. The first such dictionary was published by D.A. Rovinsky in 1872 and stimulated a significant increase in interest in the Russian engraved portrait. Information about the engraved portraits is systematized according to the personalities of historical figures, about whom biographical information is presented, especially detailed in relation to kings, members of the ruling dynasty and major historical figures, and data on their appearance. All known portraits and information about their editions, technique, features of images, creators, iconography are presented under each surname, the types of images are highlighted, the originals from which later portraits were made are indicated, their rarity, quality, and reliability are assessed. Texts for portraits are accurately reproduced.

The dictionary is unique in its completeness: it contains information about the portraits of 2,000 Russian persons who have gone down in history in various fields of activity, and Europeans who were in the service of Russia. D.A. Rovinsky strove for a complete understanding of the Russian engraved portrait. In addition to famous people, almost forgotten people got into the dictionary. The author summarized in the book materials not only from his own unique collection, but also from the best public and private collections available to him. He emphasizes that the portrait is interesting precisely as a reflection of reality, a source of a reliable image of a certain historical person.

At the end of the edition there are eight appendices, which contain lists of editions with portraits, including engraved, but unpublished suites; large private and public collections. The history of the engraved portrait in Russia up to 1700 is presented; research on the iconographic prototypes of the princes and kings of the Rurik's house; censorship rules relating to the publication of portraits; a list of surviving engraved boards, etc. The conclusion, consisting of eight chapters, tells about the origin and development of portrait engraving in Russia, lists the most outstanding and rare engraved portraits of the reigning house, provides information on portraits of private persons, etc. The final chapter of the conclusion is especially useful for collectors of engraved portraits. Because it tells about various engraving techniques, about the beauty and rarity of prints. The publication is accompanied by alphabetical indexes of portraits and masters.

The dictionary is indispensable as a reference guide for collectors and professional historians. The publication is of interest to museums.

Bibliography: NB, 491. International book, 6-674.

Dedicated to the blessed memory of D.A. Rovinsky.

T. 1. A-G. 1912, 1-372 stb., VIII p .; 1-139 l. L. tables with portraits

T. 2. D-L. 1913.373-662 stb., VIII p .; 140-246 l. L. tables with portraits

T. 3.M-P. 1913.663-986 stb., VIII p .; 247-365 l. L. tables with portraits

T. 4. R - I, Fita. 1913.987-1224 stb., VIII p. 366-483 l. L. tables with portraits.

Supplement and continuation of Rovinsky's "Detailed Dictionary". Described about 8,300 portraits, engraved and lithographed from paintings and sculptural originals. Brief biographical information about the persons depicted. The material is located similarly to the location in the "Detailed Dictionary" D.А. Rovinsky. The portraits are described in detail. The author of the original and the engraver or lithographer, technique, dimensions, signatures and inscriptions are indicated. Provides information on various prints. The collections and publications in which the portraits are placed are listed. Works that were not included in Rovinsky's "Detailed Dictionary" are marked. The supplementary index was published as a separate edition: the Alphabetical Index of engravers, lithographers, painters, draftsmen, sculptors and medalists. M., t-in printing press A.A.Levenson, 1913.142 stb, p. Included is a 3-page monogram index. After the surname of each artist, there is a list of his works included in the described edition. Each volume is in green full-cloth (calico) publishing bound. On the front cover and spine, embossed in gold: the name of the author and the title of the publication. Composite endpapers made of white moiré paper. The fundamental work of the famous Russian entrepreneur, collector Alexei Vikulovich Morozov (1857-1934), dedicated to the memory of the outstanding Russian collector D.A. Rovinsky, whose works and system the author was guided by. By 1912, Morozov's collection of prints and lithographs numbered about 10 thousand sheets and was one of the first in terms of the number of portraits and the quality of prints.

There were copies with a different calico color:

Publishing soft covers retained:

Morozov, Alexey Vikulovich(1857-1934) - entrepreneur and collector. From 1877 he took part in the affairs of the family firm "Vikula Morozov's Partnership", but in 1900 he handed the business over to his brother and began to engage only in collecting, met Moscow collectors, antique dealers, amateurs and researchers of antiquity. As a collector, A. V. Morozov became famous, first of all, for the collection of Russian porcelain. It was one of the finest porcelain collections ever assembled in Russia. Also noteworthy is the collection of old icons, which he began to collect from the end of 1913. Another passion of Morozov was engraved and lithographed portraits. In 1895 he acquired about a thousand sheets from the collection of V.A.Tulyaev, in 1897 - 160 rare sheets from NS Mosolov, in 1901 - the most valuable engravings from the collection of P.A.Efremov, in 1902 - a collection of engravings by E. P. Chapsky.

By 1912, Morozov's collection of prints and lithographs numbered about ten thousand sheets, was one of the first in terms of the number of portraits and the quality of prints. In 1912-1913. Alexey Vikulovich has published a multivolume "Catalog of my collection of Russian engraved and lithographed portraits", which describes 8276 sheets and contains 1142 illustrations. When compiling the catalog, Morozov was guided by the works and system of Dmitry Alexandrovich Rovinsky. He dedicated his work to the memory of this outstanding Russian collector. He also collected porcelain, prints and icons. The father's mansion in Vvedensky Lane in Moscow was redesigned to store and display collections. The collection of icons by Alexei Morozov was considered one of the best in Russia (along with the collections of Ilya Ostroukhov and Stepan Ryabushinsky). After the Russian Revolution of 1917, the Porcelain Museum was founded in the house of Alexei Vikulovich, and he himself was appointed curator of his collections.

Morozov, Alexey Vikulovich(1857, Moscow - 1934, ibid.), Entrepreneur, collector. From a merchant family of Old Believers. He studied at a real school (did not graduate). Attended lectures on history and art history at Moscow University. From 1877 he took part in the affairs of the family firm of the senior branch of the Morozov family (Vikulovichi) - the Partnership of Vikula Morozov's Manufactories with his sons (in 1894 - early 1900s he headed it). The firm owned one of the largest textile industries in Russia: a weaving and dyeing and finishing factories in the village of Nikolskoye in the Pokrovsky district of the Vladimir province, as well as a paper mill near the village of Savvino in the Bogorodsky district of the Moscow province. Donated 400 thousand rubles for the device of a children's hospital (see Morozovskaya children's clinical hospital). In the early 1900s. Morozov retired from entrepreneurial activity. From 1894 he became interested in collecting, became closely acquainted with all Moscow collectors, antique dealers, amateurs and researchers of antiquity.

He acquired things in Russia and abroad (he returned to his homeland many works of Russian art). His collection of porcelain was one of the best in Russia; by 1917 it included about 2,500 items: items from the Elizabethan period, table setting items, miniature figurines, figurines from the series "Russian types" of the F.Ya. Gardner, products of other private factories of the late 18th - early 19th centuries, "tavern" dishes with emphasized catchy coloring, figurines of peasants, townspeople, military men, Cossacks, musicians of the Popov brothers plant (1830-40s), etc.

Moscow antiquary S.N. Kakurin. Morozov himself attributed almost all the items in his collection. Collecting engraved and lithographed portraits became his other hobby. In 1895, he acquired about 1,000 sheets from the collection of V.A. Tyulyaev, in 1897 - 160 rare leaves from N.S. Mosolov, in 1901 - the most valuable engravings from the collection of P.A. Efremov, in 1902 - a collection of prints by E.P. Chapsky. By 1912, Morozov's collection of prints and lithographs numbered about 10 thousand sheets, was one of the first in terms of the number of portraits and the quality of prints. Among them are portraits published or prepared for publication by P.P. Beketov. Based on this collection, S.P. Vinogradov compiled the book “Collection of Portraits Published by P.P. Beketov ”, published at the expense of Morozov (Moscow, 1913). Studying his collection, Morozov published "Catalog of my collection of Russian engraved and lithographed portraits" (v. 1-4, Moscow, 1912-13), which describes 8276 sheets, contains 1142 illustrations; it is dedicated to the memory of the outstanding Russian collector D.A. Rovinsky, whose works and system Morozov was guided by. From 1913 Morozov became interested in icons as a subject of collecting. Some of the old icons went to Morozov from his grandfather E.S. Morozov and father V.E. Morozov. In compiling the collection, Morozov was assisted by the artist and collector I.S. Ostroukhov; by 1917 there were 219 ancient icons in the collection, the earliest belonged to the 13th century, the majority - to the 17th century.

In addition, Morozov collected antique silver items (220 items, mainly from Elizabethan times), miniatures (156 works), popular prints, glass and crystal items, wooden carved toys, fabrics, and embroidery. The collection was housed in the Morozov mansion (originally belonged to his father) at 21 Vvedensky Lane (now Podsosensky Lane). Vrubel with images of Faust, Mephistopheles, Margarita and other characters in the tragedy of I.V. Goethe's Faust; furniture, cabinets, special display cases for the porcelain collection were made at the P.A. Schmita. To accommodate the icons, a special extension was made to the mansion in 1895. His collection, according to the magazine "Russian Bibliophile" (1913), Morozov intended to bequeathed to the city "to create a museum named after him." In March 1918, Morozov's house was seized by the Latvian anarchist organization Lesna. Morozov's collection suffered significantly: all snuffboxes (porcelain and lacquer Lukutinsky), part of the miniatures disappeared, many porcelain items, some furniture were broken, Morozov's archive was destroyed. The Morozov collection was nationalized in August 1918, and in 1919 received the status of a Museum-Exhibition of Russian Art Antiquity. Morozov was allocated two rooms in his former mansion, he was engaged in the storage and description of the collection.

In 1921 the museum was reorganized and renamed the Museum of Porcelain (a branch of the Central Decorative Museum); in 1929 he was transferred to the building of the Second Museum of New Western Painting, in 1932 to the Kuskovo estate. During the reorganization of the museum, the items of the Morozov collection were distributed to other museums: icons were transferred to the Historical Museum and the Tretyakov Gallery, engravings - to the Museum of Fine Arts, silver and miniatures - to the Armory; most of the porcelain items are kept in the Museum of Ceramics. Buried at the Preobrazhensky cemetery. The author of the article: N.M. Polunina.

Literature: Lazarevsky I., Collection of porcelain A.V. Morozov, "The Capital and the Estate", 1916, No. 64-65; Museum of Russian Art Antiquity. Collection of porcelain, M., 1920; Sametskaya E.B., A.V. Morozov and the creation of the State Museum of Ceramics, in the book: Museum. Art Collections of the USSR, [century] 6, M., 1986; Morozova M.K., My memoirs, "Our heritage", 1991, no. 6.

THE RENAISSANCE SOCIETY OF ART RUSSIA AND MOROZOVA. The beginning of the 20th century in Russia is a time of profound interest in the original origins of Russian culture. In the practical search for ways to revive and develop Russian national art, artists and architects, researchers and philanthropists, statesmen, press organs, historical, artistic and educational societies took an active part. Among the latter, I would like to highlight the Society for the Revival of Artistic Russia. This unique association existed in Petrograd, or rather in Tsarskoe Selo, from March 1915 to October 1917.The Society was formed on the basis of a large practical business - the construction of the Fedorovsky Sovereign Cathedral in the New Russian style (1909-1912, architect V.A.Pokrovsky) and the complex of the Fedorovsky town (1913-1917, architect S. S. Krichinsky) in Tsarskoe Selo. These buildings were erected under the auspices and with the assistance of the last royal couple next to the royal residence - the Alexander Palace, moreover, the cathedral became the favorite home church of the royal family. Both the construction and creation of the Society are inextricably linked with the estate of Colonel Dmitry Nikolaevich Loman (1868-1918).

As the commander of the 1st company of His own Imperial Number of the Consolidated Infantry Regiment (guarding the royal family), an officer-at-large under the Palace Commandant, the chief and authorized by Her Imperial Majesty Empress Alexandra Feodorovna of Tsarskoye Selo military-sanitary train No. 14 Grand Duchesses Maria Nikolaevna and Anastasia Nikolaevna of infirmary number 17 at Fedorovsky town, the teacher of the Fedorovsky cathedral, the publisher of the luxurious album "Fedorovsky Sovereign Cathedral" (Tsarskoe Selo - M., 1915), etc., at the same time he was seriously interested in ancient Russian art and music, collected ancient monuments, consistently strove for the embodiment of a new unified Russian style (starting with the appearance of buildings and ending with the design of clothes and household items in tune with it) on the basis of the revival and creative processing of ancient Russian traditions. Ideological views of D.N.Loman were traditional for his circle, the enlightened autocracy as the basis for the stable development of the state, the Orthodox Church as the guardian of national foundations and the moral health of the population, and finally, an educated prosperous people - the creator of Russia's economic might. On this foundation, the Fedorov Cathedral and the town were created, these provisions formed the basis of the program of the Society for the Revival of Artistic Russia. The Society was headed by Prince A. A. Shirinsky-Shikhmatov, an influential court, statesman and public figure, connoisseur and collector of ancient Russian art, but D. N. Loman was responsible for running the Society's affairs. The governing body - the Council of the Society - included A. A. Bobrinsky, V. M. Vasnetsov, V. N. Voeikov, V. T. Georgievsky, N. V. Pokrovsky, A. V. Prakhov, M. S. Putyatin, N.K. Roerich, A.I.Sobolevsky, V.V.Suslov, A.V. Shchusev and others.

In total, for the period before the February revolution, about 300 people became members of the Society, but already the list of 65 founding members gives a very definite picture of its composition - these are famous historians, archaeologists, collectors, statesmen, church hierarchs and even princes of imperial blood (D.V. Ainalov, N.P. Likhachev, A. V. Oreshnikov, A. I. Uspensky, P. S. Uvarova, I. S. Ostroukhov, S. P. Ryabupshnsky, V. A. Kharitonenko, A. V. Krivoshey, S. V. Rukhlov, V. K. Sabler, Archbishop of Novgorod Arseny, princes Gabriel, Igor and Konstantin Konstantinovich). The Society began publishing monuments of ancient Russian art, held two competitions for drafting furniture in the Russian style, compiled an "Alphabet Guide to Replacing Foreign Words", laid the foundation for a museum of Russian antiquity; Among the tasks requiring a priority solution, the Society put forward: the study and protection of Russian antiquities, the revival of the traditions of pre-Petrine art, the development of folk crafts, the organization of study tours for students in Russian cities, the publication of textbooks on Russian art for schools, the widespread introduction of the New Russian style in state building ...

Among the founding members of the Society who signed the officially approved charter of the new association, we find the following one after another signature: "Alexey Morozov. Sergey Morozov", which indicates their active support for the program provisions and directions of the Society's activities. And this is no coincidence - Aleksey Vikulovich Morozov (1857-1934) - director of the "Vikula Morozov with Sons Partnership", manufacturer and philanthropist, was a passionate collector-researcher. He has amassed excellent collections of Russian porcelain, Russian engraved portraits and icon painting. A. V. Morozov independently compiled and published the fundamental illustrated "Catalog of my collection of Russian engraved and lithographed portraits" (Moscow, 1912-1913, v. 1-4 and "Alphabetical Index"), which remains an indispensable tool for historians and art critics. In February 1915 (even before the official registration of the Society), A. V. Morozov, through the St. Petersburg bookseller N. V. Solovyov, donated to D. N. Loman a complete copy of his "Catalog ..."

In November of the same year, the Society thanked A.V. Morozov for a donation of 3 thousand rubles. The Russian State Historical Archive also preserved A.V. Morozov's answer to the invitation to take part in the general meeting of the Society on February 19, 1917 in Tsarskoe Selo, written in even beaded handwriting:

"Dear Prince Alexey Alexandrovich (Shirinsky-Shikhmatov)! I ​​bring you my sincere gratitude for the telegram sent to me on the appointment of the General Meeting of the Society for the Renaissance of Artistic Rus. Unfortunately, under the conditions of the present time, I am deprived of the opportunity to come to the meeting. Please accept the assurance of my deepest respect and complete devotion. Moscow 17th Feb. 1917. Alexey Morozov ".

Another representative of the numerous Morozov family, Sergei Timofeevich Morozov (1860-1944), was the managing director of the Nikolskaya Manufactory Partnership, a lawyer, philanthropist and amateur artist. In 1889, he provided an outhouse with the art workshop of I. I, Levitan, in which the latter lived and worked until his death. But the business that brought S. T. Morozov wide fame was his activity on the development of handicraft industries, for many years he actually headed the work of the Moscow provincial zemstvo in the field of handicraft industry. From 1890 to 1897, he was the head, then the honorary trustee of the Trade and Industrial Museum of Products, in 1903, at his own expense, he built a three-storey museum building in Leontievsky Lane, and in 1911 added a hall to it to accommodate a store.

In addition, ST Morozov created a lending fund for the handicraft cooperative movement (which received his name), transferring 100 thousand rubles to the needs of the fund. In the first half of 1915, S. T. Morozov provided material assistance to the Society for the Revival of Artistic Russia (by the way, his wife, O. V. Morozova, was the sister of another member of the Society, a prominent statesman A. V. Krivoshein): T. Morozov. Dear Sir Sergei Timofeevich, the founders of the Society have authorized me to express their deep gratitude to you for the generous gift you brought for the needs of the Society in the amount of 5 thousand rubles. Prince A. A. Shirinsky-Shikhmatov. " The closest collaborator of S. T. Morozov was an applied artist (who later created the Toy Museum in Sergiev Posad), head of the artistic part of the N.D.Bartram Handicraft Museum. Probably, it was with the assistance of S. T. Morozov that the acquaintance of Bartram and Loman took place.

Then Loman in the fall of 1914 ordered Bartram to draw up sketches of carved wooden furniture for the main building of Fedorov town - the Refectory Chamber. In an autograph letter dated November 27, 1914. Bartram asks Loman to clarify a number of questions about the interior decoration of the refectory and his task in creating sketches. Having received the necessary explanations, the artist began to work on the order. Bartram executed his sketches of furniture (desk, wardrobe, sideboard, armchairs, chairs, etc.) in watercolor on 18 small sheets of paper and on April 17, 1915 sent them to Loman in Tsarskoe Selo, accompanied by a letter on the letterhead of the Trade and Industrial Museum of Handicrafts products: "... Yesterday I sent you 18 sheets of sketches of furniture, corrected according to the instructions of yours and Prince Alexei Alekseevich (Bobrinsky). Having looked through these drawings, I ask them to return them back to me with an indication of what exactly you would like, and then the Handicraft Museum will send An estimate for you ... "All the sketches of ND Bartram have been preserved in the fund of the Fedorovsky town, but it has not yet been possible to document the fact that the furniture itself was made using them. The February Revolution abruptly changed the fate of the Society for the Revival of Artistic Russia, depriving it of high patrons and material support of its members. The revolution called for goals directly opposite to those that defended the Society, its activities began to quickly curtail and finally ceased in October 1917. The author of the article: A.S. Fedotov

Collector A.V. Morozov. The experience of a creative portrait.“Creativity is an activity that generates something qualitatively new, which has never existed before. Activity can act as creativity in any area: scientific, production-technical, artistic, political, etc. - where something new is created, discovered, invented ”- this is how this key concept for us is defined in the“ Great Soviet Encyclopedia ”. A decade later, the "Encyclopedic Dictionary" gives the following formulation: "Creativity is an activity that generates something qualitatively new and distinguished by originality, originality and uniqueness." Unfortunately, neither in the 19th nor in the 20th centuries. collecting as an interesting social phenomenon has not received any deep appreciation in Russia. That is why, probably, the fate of many, many collections (we are talking about the collectors themselves is special) has developed so dramatically and tragically. The collection, as an outstanding cultural phenomenon of its time, remained behind the scenes for historians of science, culture and education. This statement is even more true in relation to a private collection, to tens of thousands of collections that once shone with their treasures and rarities. But any of them was not a random pile of things, but someone's favorite brainchild, embodying the level of knowledge, taste, preferences of both its immediate creator and its time. Any collection was the result of the creative process, gave rise to "something qualitatively new, never before."

A striking example of this is the most valuable personal collection of entrepreneur A.V. Morozov, which included porcelain, Russian engraved portraits, icons and other priceless monuments of Russian culture. A.V. Morozov was born in Moscow in 1857 into a merchant family of Old Believers. He belonged to the family of the Morozovs, well-known in Moscow, to its senior branch, the Vikulovichs. “With the name of the Morozovs,” noted the collector and memoirist P.A. Buryshkin, - connects the idea of ​​the influence and flourishing of the Moscow merchant power. This family, which was divided into several independent and became different branches, has always retained significant influence in the course of Moscow industry and in a number of charitable and cultural undertakings. " In 1869, the boy was sent to the Real School, but he could not finish it. The teaching was given by A.V. Morozov with great difficulty.

Later, Alexey Vikulovich did a lot of self-education, attended lectures at Moscow University on the history and history of art. Some professors even came to study at his house. As a result, he became the owner of broad knowledge in the field of national culture. "Vikulychas" belonged to the "Partnership of manufactories Vikula Morozov with sons". In 1877 Morozov was "put in charge". In 1894, after the death of his parents, he became the head of the Association. However, captured by gathering, he handed over the business in 1900 to his brother Ivan Vikulovich. “He was a very cultured person, he loved cultural work more than doing his own thing,” noted his relative Margarita Kirillovna Morozova. According to the memoirs of P.A. Buryshkina, all the Morozovs of this branch “were Old Believers, bespopovtsy, it seems, of the Pomeranian consent, very firm in the old faith. All were with big black beards, did not smoke and ate without fail with their own spoon. The most famous of them is Alexei Vikulovich, who had an unusually complete and well-chosen collection of Russian porcelain. Little was known about this collection in Moscow, since the owner was not very fond of showing it. He also had a good collection of Russian portraits. " Having received the inheritance at his disposal, Alexey Vikulovich with unheard-of energy set about compiling a personal collection. He had long been deeply possessed by the idea of ​​collecting, but only now, since 1894, could it truly be fully realized. Huge material resources allowed A.V. Morozov to create an excellent collection rich in first-class monuments of art in a relatively short period of time. The symbols of the Morozov collection were two categories of monuments - porcelain and engraved portraits. However, it should be emphasized that this included miniatures, prints, popular prints, icons, and embroidery. It is characteristic that all of these were products of Russian craftsmen. From the very first steps of his activity as a collector, Morozov dreamed of creating a socially significant collection and donating it to Moscow.

In 1913, the journal Russian Bibliophile wrote: “According to rumors spread in the city, A.V. Morozov bequeathed his wonderful collection of Russian prints, miniatures and popular prints, as well as porcelain, crystal and silver of Russian production, of enormous value, as a gift to the city of Moscow, to create a museum named after him. " Compiling his collection, A.V. Morozov got along with all Moscow collectors, antique dealers, amateurs and researchers of antiquity. Important sources of replenishment of the Morozov collection were trips abroad: visits to antique shops, participation in auctions. He managed to acquire in Europe many items for his collection and, thus, to return to his homeland many works of Russian art. As a collector A.V. Morozov became famous primarily for the collection of Russian porcelain. It was one of the finest collections of its kind ever assembled in Russia. All Russian porcelain factories were represented here with unheard of completeness. It was a true "encyclopedia of domestic porcelain production." There were 2,459 items in it, and literally everything worthy of attention was collected - from the first cups of Elizabethan time to the latest products of Russian enterprises. A.V. Morozov, the Moscow antiquary S.N. Kakurin.

The owner greatly appreciated the samples of porcelain production from the times of Elizabeth Petrovna and Catherine II. Of great value were the porcelain figurines that were distinguished in the collection of A.V. Morozov is both very rare and extremely well preserved. In this collection, the products of the F.Ya. Gardner: various table setting items, miniature figurines, figurines from the "Russian Types" series. Without referring to the collection of A.V. Morozov, it was impossible to imagine the history of the activities of private porcelain factories in Russia in the late 18th and early 19th centuries: Yusupov, Vsevolzhsky, Polivanov, Dolgorukov. The products of these small enterprises, which were not produced for sale, were, as a rule, very small in circulation, and therefore extremely rare. The thirties and forties of the 19th century were adequately represented by Morozov's products from the Popov plant. This is a special priest's "tavern" dishes with an emphasized catchy ornamentation and coloring, and porcelain figurines, and endlessly diverse and simple-minded "types" - peasants, townspeople, military men, Cossacks, musicians. “Despite the fact that the collection of porcelain is located in austere monotonous mahogany cabinets, in specially designated rooms in the Morozov mansion, devoid of any comfort, with unpleasantly distracting bright gilded chandeliers,” wrote a contemporary of I.I. ... Lazarevsky, - the meeting still makes a great impression. " A.V. Morozov was a classic type of collector-researcher. Starting to compose his collection, he immediately began to study it. Almost all of the porcelain pieces in his collection were attributed by him. Engraved and lithographed portraits became another passion of the collector. Many collectors have made portrait galleries of Russian celebrities; among them, the collection of Alexei Vikulovich was in the forefront both in the number of collected portraits and in the quality of the prints. The owner began to compose this part of his collection in 1895, when the opportunity presented itself to purchase at once about 1000 sheets from the collection of Vasily Anisimovich Tyulyaev. In 1897, Morozov purchased 160 rare sheets from Nikolai Semenovich Mosolov. The most valuable engravings from the collection of P.A. Efremov was added to his collection in 1901. A year later, Aleksey Vikulovich bought a collection of prints by E.P. Chapsky. Thus, by 1912, an excellent - about 10 thousand sheets - collection of engravings and lithographs was compiled. In the Morozov collection there were almost all portraits, not only published at one time by Platon Petrovich Beketov, but also prepared for publication. Based on this collection, S.P. Vinogradov prepared for publication a wonderful book “Collection of portraits published by P.P. Beketov ". It was published in 1913 at the expense of A.V. Morozov. Studying his collection, Alexey Vikulovich in 1912-1913. published the multivolume "Catalog of my collection of Russian engraved and lithographed portraits", which is a valuable source for researchers of the history of museum collections and specialists in the field of fine arts. It describes 8276 sheets. The edition is accompanied by 1142 illustrations. In the preface, the owner himself gave a detailed account of the history of his collection. While searching and studying engravings, Alexey Vikulovich was guided by the works of Dmitry Alexandrovich Rovinsky and his system; he dedicated his work to the memory of this outstanding Russian collector. In a review of the Morozov catalog of portraits, the Russian Bibliophile magazine wrote: “Collection of Russian engraved portraits of A.V. Morozov in Moscow, is currently undoubtedly the first in Russia, both in terms of quantity and rarity of sheets ... We do not know the intentions of the owner of the only collection in the world that we are talking about here. Let's hope that it will not disintegrate, that many years spent with love and knowledge on its compilation will not be wasted, and this collection will be preserved for Russia as a whole in one way or another. " Morozov also had a noteworthy collection of icons. Icons, as a subject of collecting, captivated him from the end of 1913. By this time he had amassed a significant collection of porcelain and switched to searching for icons. As an inheritance from his father, he received very good examples of ancient Russian painting. He also got some of the old icons from his grandfather, Elisey Savvich, a great admirer of “ancient writing”. Having set the goal of compiling a first-class collection of icons, Morozov managed to achieve it in a short time - in just four years. Since many people were interested in Old Russian painting at that time, Aleksey Vikulovich gave special preference to hagiographic icons. The artist and collector I.S. Ostroukhov. By 1917, this collection contained 219 ancient icons, with the earliest dating back to the 13th century, and the bulk of the 17th century. The Novgorod icons of the Morozov collection attracted special attention of contemporaries: they were monumental, colorful, distinguished by the variety and complexity of their compositions. The collection of old Russian silver was small. When composing it, the owner was looking for works of the Elizabethan time. All 220 items in this collection stood out for their high artistic merit. The collection of miniatures consisted of 156 works. Collections of A.V. Morozov, from the very beginning, were housed in a mansion that passed to him from his father. “The house that after the death of his father passed to him (on Pokrovka in Vvedensky lane, now Podsosensky lane, 21.) as the eldest, was huge, with an infinite number of rooms,” recalled Margarita Kirillovna Morozova. “All the rooms on the second floor were filled with showcases with porcelain of his collection and icons. He himself lived downstairs, where he had two dining rooms, a living room and an office. His office was two-height, very high, all decorated with wood with five panels by M.A. Vrubel, depicting Faust, Mephistopheles and Margarita. " Adapting the house to accommodate his meetings, A.V. Morozov re-completed the interior decoration, and invited for this a prominent architect F.O. Shekhtel. The paintings for the mansion were specially commissioned by M.A. Vrubel, and furniture, bookcases, special display cases for porcelain were made at the P.A. Schmita. To accommodate the icons, a special extension was made to the mansion in 1895. After the October coup, the meeting of A.V. Morozov almost died. On March 3, 1918, the Morozov house was seized by the Latvian anarchist organization Lesna. The meeting and its owner were threatened with destruction. At the end of April, the anarchists were knocked out with the help of weapons. The collection suffered irreparable damage. "During the" anarchic "and ownerless periods of 1918, the collection suffered significantly: all the snuffboxes - porcelain and lacquer lakutin ones - disappeared, the entire collection of fabrics with which the owner intended to decorate the walls of the icon department, part of the miniatures, a lot of porcelain was turned into shards, even some furniture was broken" , - stated in the magazine "Among collectors". The engravings were removed from folders and scattered throughout the rooms. The collector's personal archive was completely destroyed. On August 19, 1918, the collection of A.V. Morozova was nationalized. According to the act of May 21, 1919, the collection, located in four rooms and thirty-eight showcases, contained 2,372 porcelain items. The former owner, having received from the new authorities two rooms in his former mansion, was engaged in the storage and description of the collection. Collection of A.V. Morozov on June 5, 1919 received the status of "Museum-Exhibition of Russian Art Antiquity" with two departments - Russian porcelain and medieval painting. On December 14, 1919, the museum was opened to visitors. “The uncertainty of the“ physiognomy ”of the museum has long worried Moscow museum workers, and the decision to turn it into a porcelain museum came about by itself, in a natural way. The icons and engravings had to go, - noted in the magazine "Among Collectors", - to other Moscow museums (as AV Morozov himself intended to do at one time). Now the implementation of this idea has begun: a special commission is working on the plan of the museum. Having occupied several excellent museum halls, the "porcelain fund" should be removed, and its premises used for the systematic deployment of the richest material. " On March 25, 1921, the reorganized museum was renamed “Museum of Porcelain. Department of the Central Decorative Museum ". Until 1929, the museum worked in the Morozov mansion in Vvedensky lane. Then he was transferred to the mansion of S.I. Shchukin to the building of the Second Museum of New Western Painting. In 1932, it changed its location again, and since then it has been located in the Kuskovo estate. As a result of all these transformations, the integrity of the collection of A.V. Morozov was violated: numerous items from the Morozov collection were sold to various Russian museums. The icons were divided between the Historical Museum and the Tretyakov Gallery. The collection of prints was transferred to the graphic office of the Museum of Fine Arts. Antique Russian silver and miniatures were included in the collection of the Armory. The rest of the items and books ended up in various museums. Most of what was once collected by A.V. Morozov porcelain is now kept in the funds of the State Museum of Ceramics and the Kuskovo Estate of the 18th century. Unfortunately, when a specialized porcelain museum was created in the Morozov estate, objects from many museums and private collections were combined. Thus, 2,459 items from Morozov were irrevocably “dissolved” in the new seven thousandth fund. A.V. Morozov died in Moscow on December 2, 1934. Buried at the Preobrazhensky cemetery. Summing up some of the results of the collecting activity of A.V. Morozov, it should be noted that she certainly had a creative character. Moreover, as we can see, his creative laboratory was quite complicated. He created a collection that is unique in its structure, reflecting not only the tastes, character, hobbies, temperament of its owner, but also being the brightest monument of collecting activity in Russia in the late 19th and early 20th centuries. In addition, Morozov was distinguished by a serious attitude to the implementation of each of the parts of his personal collection, a strict selection of monuments. There is no doubt that each of the numerous components of his collection was formed, speaking in today's professional language, on a conceptual basis, with a deep knowledge not only of individual branches of national culture, but also of the history of museum collections and private collecting. The creation of such brilliant collections cannot be decisively explained by material factors alone (although they cannot be underestimated). A.V. Morozov, it seems to us, managed to create a system for replenishing a personal collection that was unique for his time, taking into account many factors: the scientific value of a thing, its market value, sources and forms of acquisition. Fascinated by WHAT Morozov collected, we still have little idea of ​​HOW he did it. In other words, only the very first steps have been taken in the study of the creative laboratory of this outstanding domestic collector. Meanwhile, speaking about the prospects for studying the creative heritage of A.V. Morozov, it is necessary to give an objective assessment of his research activities. Obviously, Morozov's contribution to the popularization of monuments of art and antiquity (publications, exhibiting his personal collection) is no less interesting. Appeal to the creative activity of A.V. Morozova shows how rich and yet unclaimed by researchers layer of material is concealed by the history of private collections in Russia, how much brighter and more attractive when referring to it many pages of the history of Russian culture, science, and education look. The author of the article is A.I. Frolov.

1. Buryshkin P.A. Merchant Moscow. M., 1991, p. 129-134.

2. [S. Vinogradov]. Collection of portraits published by P.P. Beketov. The catalog was compiled by S.P. Vinogradov. Published by A.V. Morozov. M., 1913.

3. Grishchenko A.V. Russian icon as the art of painting. M., 1917, issue 3 ,. with. 36, 43, 45, 48, 52, 55, 74, 78, 83, 87, 96, 100, 103, 105, 110, 144, 173-207, 211, 239.

4. Lazarevsky I. Collection of porcelain A.V. Morozov. // Capital and estate. 1916, No. 64.65, p. 8-11.

5. Lazarevsky I.I. Among collectors. Pg., 1914, p. 93, 94-133.

6. Linkov A. Collection of A.V. Morozov. // Literary Russia. 1978, No. 33, August 18.

7. Mirkina I.A. Documents of the Central State Administration of the RSFSR about A.V. Morozov and his collections. // Soviet Archives. 1991, no. 1, p. 106-107.

8. Morozov A.V. Catalog of my collection of Russian engraved and lithographed portraits. M., 1912-1913, vols. 1-5.

9. Morozov A.V. Catalog of my collection of Russian engraved and lithographed portraits. M., 1913, vols. 1-2. Review.// Russian bibliophile. 1913, no. 3, p. 105.

10. Morozova M.K. My memories. // Our heritage. 1991, no. 6, p. 90-109.

11. Museums and sights of Moscow. Guide. M., 1926, p. 107-111.

12. Museum of Russian Art Antiquity. Collection of porcelain. M., 1920.

13. Sametskaya E.B. A.V. Morozov and the creation of the State Museum of Ceramics. // Museum-6. Art collections of the USSR. M., 1986, p. 159-164.

14. Solovieva Yu.N. Moscow is gone. M., 1993, p. 205-212.

15. Chronicle. Small notes.// Russian bibliophile. 1913, no. 8, p. 104.

16. Chronicle. // Among collectors. 1923, no. 5, p. 59.

Dmitry Rovinsky went down in Russian history not as a lawyer and reformer of the judicial system in 1864, but as a professional art historian and Russian collector - the founder of the science of Russian art history, and what he did in the field of engraving is generally priceless.

Without Rovinsky's works on Russian engraving, Russian engravers, Russian engraved portrait, Russian folk painting, as well as engravings of Western European schools and Rembrandt etchings collected by a Russian collector, today no specialist in this area can manage, neither in our country nor abroad.

Reference books, historical reviews of the development of engraving techniques, monographs, catalogs, a library on the history of engraving - it all started with him. From the very beginning, Dmitry Rovinsky set himself the only goal - educational, for which it was necessary to create a base, collect material and draw the attention of specialists to them.

Portrait of A. Menshikov, in a fur coat and a fur hat, with an ax in his hands: "God humbled me" From the collection of D.A. Rovinsky

The thousands-strong collection of his engravings began with the collection of Western specimens, in particular - with engravings by Rembrandt, but the advice of a distant relative of M.P. Pogodin - to collect everything Russian, because it is not valued by anyone, and is not cherished - played a decisive role.

And in addition to this instruction, Pogodin gave the young man a small chest for parsing, where the Shtelin archive was located, among the papers of which there were several engraved portraits and popular prints. They laid the foundation for the grandiose collections of Dmitry Rovinsky.

True, Dmitry Rovinsky did not immediately become a legendary Russian collector. At first, he collected folk pictures without much enthusiasm, and hardly distinguished them from each other in quality, considering that they did not represent any artistic value. As, however, and Russian prints, which he considered a blind imitation of the West.

Catherine II. From the collection of engraved portraits of D.A. Rovinsky

This lasted until he plunged into the topic with his head, and the folk picture began to excite him no less than the etchings of Rembrandt. Over the years, "watching" began to shape his artistic taste.

So he gradually turned from an amateur into a professional in the field of the history of Russian fine arts, Russian history, Russian folklore and Russian ethnography.

Only the list of multivolume works, albums, articles and studies by Dmitry Rovinsky will take up a lot of space. His fundamental research works were:

“Russian engravers and their works from 1564 to the founding of the Academy of Arts”, “Dictionary of Russian engraved portraits”, “Russian folk pictures”, “Detailed dictionary of Russian engravers and their works of the 16th-19th centuries”.

The latter, which appeared shortly after the death of the author in 1895, became the final and posthumous monument to the half-century ascetic work of the scientist. Dmitry Rovinsky himself can also be considered a monument of Russian culture: immensely loving his people, their wisdom, cunning, humor and customs, for fifty years he studied everything Russian with the enthusiasm of a Russian patriot.

Count Alexey Grigorievich Orlov. From the collection of D.A.ROvinsky

Diligence, passion, discipline and strictness in relation to oneself, instilled by the father in childhood, were supplemented and developed in the course of personal legal practice, which taught him to carefully study every case, strictly document details and take responsibility for decisions made.

These qualities not only contributed to his successful career as a prosecutor, but also to the formation of Dmitry Alexandrovich as a brilliant connoisseur of Russian history and Russian life. Collecting folk pictures, icons and engraved portraits, he walked around almost all the Moscow region, east and north of the country, and when the position and funds began to allow, he traveled all over Europe, visited India, China, Morocco, Egypt, Jerusalem, Japan ....

And the real collecting began with the "Society for trampling the roads", as Ivan Zabelin and Dmitry Rovinsky called themselves, with their brother Nikolai who joined them. In search of Russian antiquity, they walked around all the local villages and settlements on foot, going on hikes since Easter: Kuntsevo, Kolomenskoye, New Jerusalem, Savvino-Storozhevsky Monastery, Sergiev Posad ... And so on.

Dmitry the Pretender. From the collection of D.A. Rovinsky

One of the largest trips to Pereslavl-Zalessky lasted two weeks, during which friends walked thirty miles every day, eating black bread and kvass. During the campaigns, sketches of houses, churches, localities were made, customs, meetings, and conversations were recorded. This is how the priceless collection of Rovinsky was formed.

The greatest difficulties in the collection arose with the icons, which their owners, especially the Old Believers, did not want to give away. I had to persuade and explain that the icon is not only an object of worship and prayer, but also a work of art that requires study. Dmitry Rovinsky was not lucky at all with icons.

His first serious research, undertaken at the age of twenty-nine (1852), the Russian collector began precisely with the history of Russian iconography. Rovinsky's first manuscript on the history of Russian schools of icon painting seemed to be no different from previous research in this area.

Peter I. From the collection of D.A. Rovnisky

Accustomed to proving everything only with documents and confirming every word with facts, Rovinsky fell into the trap of his own professional meticulousness: his main conclusion is that there was no Byzantine standard, which, allegedly, Russian icon painters followed, in principle did not exist.

Therefore, there is no way to revive the mythical, unknown "Russian-Byzantine style". Moreover, he showed on facts that the tsarist painters, the same Simon Ushakov, always deviated from the Greek-Byzantine models. In the process of work, Dmitry Rovinsky first began to attribute icons using the method of their stylistic analysis.

He described in detail all the stages of creating an icon, how counterfeits arise, how icons are “repaired”, etc. All this was told to him in his countless expeditions and conversations by icon-painters. And most importantly, in the appendix to the work, he publishes 142 recipes for making paints for icons, which he wrote out from icon-painting originals.

Catherine I. From the collection of D.A. Rovinsky

This made the book in demand by all icon painters up to the present day. But the book was banned, four years later, in a truncated form, it was nevertheless published, and in full was published only half a century later - in 1903.

But it was this book that became a new stage in the study of icon painting schools and ancient Russian painting. Instead of general reasoning, real documents and facts were presented here for the first time, on the basis of which they could be systematized and reasoned conclusions.

Previously, everything was the other way around: first, some version was put forward, which was then illustrated with individual samples of icons. As a result of the failure of the Russian collector in Russian icon studies, Dmitry Rovinsky never returned to this topic.

Tsar Boris Godunov. From the collection of D.A. Rovinsky

Rovinsky, Dmitry

Dmitry Rovinsky, lawyer and expert in Russian portraiture

Dmitry A. Rovinsky(August 16 (28), Moscow - June 23, Bad Wildungen, Germany) - Russian lawyer, famous as an art historian and compiler of reference books on Russian portraits and engravings of the 18th-19th centuries. Honorary member of the Academy of Sciences and the Academy of Arts.

Service

The son of a Moscow police chief, born on August 16, 1824. After graduating from the law school, he began serving in Moscow, where he successively held the positions of secretary of the Senate, provincial solicitor, assistant chairman of the criminal chamber, provincial prosecutor, prosecutor of the judicial chamber and chairman of the criminal department of the judicial chamber. From 1870 until his death, he was a senator of the Cassation Department.

Rovinsky as a lawyer

The period of Rovinsky's official life before the start of the judicial reform was distinguished by an extremely lively, sensitive and alien to any formalism activity, especially in the important position of the provincial prosecutor, the importance of which he was able to extremely elevate, despite all the difficulty of relations with the autocratic and narrow "master of Moscow" - the governor-general Count Zakrevsky. Persistently seeking possible material truth and justice in decisions on criminal cases, sometimes built with complete oblivion about a living person, on the territory of formal, biased, mechanically evaluated evidence obtained, moreover, during the investigation by ignorant and often self-serving police officials who extorted the suspected consciousness with the help of disguised , and sometimes explicit torture or languor in the "bedbugs" and "graves" of the basement floors of "private houses", Rovinsky entered everything and with vigilant supervision, insistence and requests, wherever possible, eliminated the flagrant abuses of the modern judicial-investigative order. He also had to work a lot on improving the situation of the prisoners in an environment where Fyodor Petrovich Gaaz had already finished shining with the light of his loving heart, whom Rovinsky remembered with affection at the end of his days. Heavy collisions with gr. Zakrevsky were called out by the intercession of R. for the serfs in cases of artificially inflated cases of disobedience to their landowners and even managers, and these cases were soullessly given the character of an "uprising" that entailed hard labor and lashes. Trying to influence young judicial figures by his own example, Rovinsky warmly welcomed the publication in 1860 of an order to judicial investigators and admonished future investigators of the Moscow province, who had gathered at the provincial prosecutor, with an appeal

"To be first of all people, and not officials, to serve the cause, and not to persons, to rely on the law, but explaining it reasonably, in order to do good and be useful, and to seek one reward - the good opinion of society ..."

Assumptions about the need for judicial reform prompted him to a number of works that contained, full of real knowledge of life and faith in the spiritual forces of the people, criticism of the "general explanatory note" to the draft criminal proceedings of Count Bludov, which proposed the gradual introduction of improvements in the existing judicial system and methods. Standing for the need to radically change the latter and finding it necessary to root out of the Russian judicial life the callous "commanding attitude" covered by "liberal decorations with loud phrases and criminal jokes" and then, for more important cases, create a jury. He was the first to have the courage to clearly and straightforwardly put the question of this court on a practical basis, while entering into a struggle with many persons who are authoritative in their position. Against the indications of the alleged inability of the Russian person to distinguish between crime and misfortune, Rovinsky exhibited in his legal and literary history a profound difference between the compassion of the people for the convicted person and his supposed indulgence for the crime.

“The people,” he said, “look with compassion at the criminal, already punished with whips and condemned to hard labor and exile, and forgetting all the evil they have done, bring him generous alms in things and money; he regrets the defendants who have been sitting on trial for years and decades in the apparent ruin of their family and the state treasury, but for this compassion one should rather recognize a deep moral dignity for the people, rather than accuse them of a lack of legal development. "

In bright colors, Rovinsky described in various notes the implementation of the system of punishments that prevailed in our country until 1863, with prison sitting, lashes and gauntlets, depicting a "green street" with terrifying, but truthful features. To the denial of a sense of legality in a Russian person, as a result of which the jury would not see crimes where the law sees it, Rovinsky responded by pointing out that it is the public court, public and respected by all, should precede the legal development of society and the judges themselves, so as soon as the people in it learn the truth and cease to recognize some crimes as the most common thing. Finally, to the fear that the jury trial would turn out to be an innovation incomprehensible to society and would not find the necessary bodies for itself in the person of prosecutors and defenders, he objected with research on the participation of public and elective elements in the old Russian court and extremely interesting remarks and conclusions about how and what national peculiarities the type of future Russian prosecutors and lawyers should be expressed in. Summoned to St. Petersburg to participate in the commission on judicial transformation and seconded to the State Chancellery in 1863, Rovinsky persistently and tirelessly followed his gaze, trying, among other things, to free jury proceedings from unnecessary conventions, reduce prosecutorial challenges, excessively frequent swearing of assessors and in general to eliminate from production that element of mistrust and didacticism, to which many were inclined in relation to representatives of the public conscience. Some of Rovinsky's assumptions were carried out, under the domineering direction of experience, only later. Rovinsky also worked with special love on the organization of the world institute, suggesting, in order to raise it in the eyes of the population and for its closest introduction to central and local government bodies, to consider honorary magistrates for the entire empire of the ministers of justice and internal affairs, members of the State Council and senators - during all the time they were in office, and in the provinces - governors, provincial leaders of the nobility and chairmen of provincial zemstvo councils.

In 1862, under his direct supervision, extensive forensic statistical work was carried out to collect and develop information about the state of affairs of the judicial department in the provinces of the future Moscow judicial district.

Appointed prosecutor of this district in 1866, Rovinsky with joyful energy set about the practical organization of the new case. He elected the first composition of the Moscow prosecutor's office, from which so many remarkable judicial figures emerged. They were called to its ranks, among other things, the future Minister of Justice Manasein and the famous prosecutor Gromnitsky for his talent. Fulfilling, along with his subordinates, prosecutorial duties, alien to any "generals" and striving for outward brilliance, Rovinsky served as an example of dedicated service to their beloved work. The first steps of the new institutions could not do without involuntary mistakes, and society by no means in all its strata treated them with sympathy. Inevitable clashes and bickering arose, it was necessary to deal with secret gloating and obvious ill-will of those whose power or influence met a legal obstacle in the unfamiliar activities of the new institutions. The position of the first prosecutor of the judicial chamber of the largest of the judicial districts was not only difficult, but also morally responsible before the future of the new court. And in the positions of a judge on the merits and a judge of cassation, Rovinsky retained his life view of each case, which seemed to him, first of all, to be an everyday phenomenon with an individual coloring. A stranger to dead legal schemes, who saw in everything and above all a living person, R. introduced his responsiveness to the requests of everyday truth and to the abstract area of ​​assessing cassation violations. The enemy of any "bureaucratic", everything evasive, vague and unsaid, he was short and precise in his work, however, being able to elaborate in great detail the questions when they concerned establishing the correct view of serious legal relations or offenses. He worked tirelessly, with rare conscientiousness, not avoiding, under any pretext, dry and sometimes very boring, painstaking work. During his senatorial career, he was always at his post, influencing his comrades with the independence and clarity of his everyday and legal views. Having entered the Senate at an age when many already dream of peace, he cheerfully set to work and reported 7825 cases, on each of which he wrote a decision or a motivated resolution with his own hand.

Art history

It was not easy for him, because next to the service he had a favorite sphere of art, where he was attracted with all the forces of his soul and where he rested mentally. In this area, he did a lot. Alone, through his own labors and through great material sacrifices, he collected and published a number of publications: "History of Russian schools of icon painting", "Russian engravers and their works", "Dictionary of Russian engraved portraits", "Russian engraver Chemesov" (with 17 portraits), "Russian folk paintings", "Reliable portraits of Moscow sovereigns" (with 47 drawings), "N. N. Utkin. His Life and Works ”(with 34 portraits and drawings),“ Views of the Solovetsky Monastery ”(with 51 drawings),“ Materials for Russian Iconography ”(12 issues, with 480 drawings),“ Eleven Engravings by Bersenev ”,“ F. I. Jordan "," V. G. Perov. His life and works ”,“ Collection of satirical paintings ”,“ Complete collection of Rembrandt prints ”(with 1000 phototypes),“ Complete collection of engravings by Rembrandt's students and masters who worked in his manner ”(with 478 phototypes),“ Detailed dictionary of Russian engraved portraits ". Moreover, he made a number of small editions, such as "Views from the Vistula provinces", "Satirical alphabet pictures of 1812", "The Embassy of Sugorsky" and others. The first place between Rovinsky's editions is occupied by the "Detailed Dictionary of Russian Engraved Portraits". It consists of 4 quarto volumes and is a precious monument for acquaintance with the art of engraving in general and in Russia in particular, giving a description of the portraits of 2000 persons who in some way attracted the attention of contemporaries and posterity. These descriptions, representing a report on each portrait with a mass of precise and smallest technical details, demanded, in view of the 10,000 photographs mentioned in the book, amazing in its persistence and perseverance of work. But not for some lovers of engravings or scholars of the history of art, these four volumes give the richest material. On 3086 columns of the book, the compilation of which alone could fill a person's life, along with various, sometimes beautiful phototypes, there are biographical notes, stories and instructions of contemporaries. They contain extremely interesting historical and everyday material that draws and illuminates from many sides Russian life and its fate. Rovinsky's notes have no claim to completeness or to a specific system: for the most part, they are short, vivid characteristics, brilliant in intelligence, armed with enormous erudition and knowledge. Their condensed form gives them special strength and completely excludes any convention and pretentious pathos. In general, in the writings of Rovinsky there is not the slightest trace of historical subservience; his reviews and ratings sound complete sincerity. However, not all of his notes are short. There are whole biographical sketches under this name, the separation of which from the "Dictionary" and the collection together could make a book full of interest. Such are, for example, by the way, sketches of the life and work of Alexander I, Catherine II, Dmitry the Pretender and, in particular, Suvorov. This kind of essays can, perhaps, be reproached for excessive detail that goes beyond the limits of the "Dictionary". Rovinsky foresaw the possibility of such a reproach. The answer to it is contained in an indication of the relationship of iconography to history.

“For us iconographers,” he says, “it is interesting to have not an image of Catherine in a highly solemn pose, but a real, living Catherine, with all her advantages and disadvantages. We want to know every little thing that this great woman was surrounded by; we want to know at what time she got up, when she sat down to work, what she drank and ate at dinner, what she did in the evening, how she dressed and where she went. We care about everything, we want to know her private life, even read her intimate notes, we want to see her at home - alive, smart, cunning ... maybe too passionate. From a short acquaintance with all the little things of her everyday life, more than from any other History, we will endure the confidence that the light sides of her home life did not have a relaxing influence on her royal tasks, and we will love this great woman even more for her boundless love for her new, to the Russian fatherland ".

The Dictionary of Engraved Portraits depicts Russian people at different levels of the social ladder and in different historical eras. But to complete the picture, it was necessary to depict Russian life, it was necessary to collect not personal features, but everyday ones, fixed in the people's memory in one way or another. This task was fulfilled by Rovinsky in his other classic work - "Russian folk pictures", published in 1881, in 9 volumes, of which four contain 1780 pictures, and five represent an explanatory text to them, on 2880 large pages in 8. In In this edition, which required an extraordinary love for the cause, perseverance and knowledge, and, moreover, with great sacrifices, Rovinsky collected all those folk pictures that were published before 1839, that is, until the time when free folk art was inserted into the framework official censorship. In these pictures, the everyday and spiritual life of the people passes through the most diverse sides from the beginning of the 17th century to the middle of the 19th century. In the naive images of the folk chisel, the Russian person is presented in his relationship to his family, to the world around him, to teaching, in his religious beliefs and poetic ideas, in his sorrows and joys, in exploits and failure, in illness and entertainment. He is alive in front of us, talking about himself, with his "red word", fairy tale and legend, peculiar, powerful and simple-hearted, patient and terrible in anger, playful and at the same time thoughtful about life and its innermost meaning, looking with good-natured irony on himself and on everything around him, and majestically calm in the face of death.

Regarding various folk paintings, this work contains whole detailed independent studies, extensive extracts from monuments of folk literature, harmonious, built on rich sources and personal experience and the study of everyday and ethnographic paintings. Whoever has read with attention five volumes of the text to folk pictures, he can say that before his eyes passed not official, not external, but internal Russian life for more than two centuries, with all that constituted its essence.

Rovinsky's love for art was also reflected in his book “Vasily Grigorievich Perov. His Life and Works ”, consisting of a wonderful biography of the artist, written by NP Sobko, and 60 phototypes from Perov's paintings. Rovinsky had a wide choice to publish the works of any of the outstanding Russian artists. Such a publication could overwhelm with an overwhelming depiction of grievous scenes from combat life; could caress the eye with graceful truthfulness in the transfer of overflows of light on furs, fabrics and adornments; could represent those genre scenes where "invisible tears are heard through visible laughter" and where a deeply tragic being is confined within the framework of some everyday phenomenon ... But he did not stop at these works of artistic brush.

A connoisseur, connoisseur and researcher of folk life, he did not like anything flashy, effective or exceptional. The simple Russian life, in its usual, modest course, attracted him more, for it more simply and truthfully reflected the nature of a Russian person. Perov was a painter of just such a life. His simple, ingenuous, full of desire for self-improvement, his nature, his modest life should have attracted Rovinsky's sensitive attention and sympathy. Rovinsky's works of art by Perov should have had an even greater influence on Rovinsky, because in them, like in a picturesque kaleidoscope, an everyday life, not rich in colors and impressions, but close to the Russian heart, life with its family joys and sorrows, inevitable dramas, peculiarities and hobbies passes.

Dmitry Rovinsky. Grvura I.P. Pity 1888

"A survey of icon painting in Russia until the end of the 17th century" was published as early as 1856, in the VIII volume of the Notes of the Archaeological Society. After the death of D. Rovinsky, it came out in full, together with the work on fireworks from the archives of the researcher. Attached to the book is his portrait, engraved by IP Pozhaostny in 1888: “D. A. Rovinsky, Review of Icon Painting in Russia until the End of the 17th Century. Description of fireworks and illuminations ”. Published by A.S. Suvorin, 1903.

Last years. Personality

After moving to the Senate, he began to travel abroad and visited everywhere: not only in Europe, but in Jerusalem, India, Egypt, Morocco, China and Japan, in Ceylon and Java, in Central Asia, etc.

He bequeathed all his varied and rich collections of prints and works of art to the Hermitage, the Rumyantsev Museum, the Public Library and the Academy of Arts; library - school of jurisprudence; real estate - to Moscow University, for the award for the best illustrated publication for public reading; a capital of 60 thousand rubles - for the organization of public schools and for a prize for the best essay on artistic archeology.

Rovinsky was buried at the Kuntsevo cemetery. According to other sources, his grave was located near the Church of the Savior of the Image not made by hands in the village of Spas-Setun on the Setun River (now Ryabinovaya Street, 18), in Soviet times, the grave was demolished, although the church has survived. His daughter Yekaterina Volchanetskaya is a minor poet of the 1920s.

When drawing up judicial charters, objecting to the defenders of the need for awards to the ranks of the future judicial department, who foreshadowed, otherwise, its impoverishment, he wrote: win ... ".

In ESBE, the outstanding Russian lawyer A.F.Koni gives the following description to his colleague Rovinsky:

In his personal life, Rovinsky was extremely original. Of medium height, broad-shouldered, with a large bald patch, framed at first with reddish and then gray curls, with lively, full of intelligence eyes, he was very mobile, never, except in cases of illness, did not ride in a carriage, lived in the most modest atmosphere and dressed simply and even poor, making fun of the passion of many to "hang around" with insignia. People's life in all its manifestations interested him extremely. For many years, he took great pedestrian wanderings along the country roads of Central and Eastern Russia, listening and looking closely. The thirst for knowledge and activity did not dry out in him until his death, which befell him in Wildungen, while collecting, after a difficult operation he had just transferred, to Paris, to finish work on the etchings of Van Ostad. In the last years of his life, he was little in society and more and more withdrawn into himself, feeling the discord between his mental structure and the decline of ideals that manifested itself in the life of Russian society.