Noble estate in the works of F and Tyutchev. The doctor drives and drives through the snowy plain. Gazebo in the manor park

Monument to the great Russian poet Fyodor Tyutchev in Bryansk

Where did F.I. go? Tyutchev from Moscow, stopping several times at the Roslavl post station? Maybe to Munich, where he served in the diplomatic field for about 20 years. After all, this postal station is located right on the Moscow-Warsaw highway, along which they were heading to Europe. But my assumption turned out to be wrong - Tyutchev went to his ancestral noble nest - the Ovstug estate, not far from the district city of Bryansk. The journey from Moscow to a small village with the unusual name Ovstug took 5 days in those days, and the last stop was Roslavl.

After returning from Europe to his homeland, Tyutchev often visited the family estate from 1849 until his death. A total of 10 trips are known, 8 of which took place in August. The likelihood of the route Moscow-Roslavl-Ovstug (in the direction of Bryansk) in two cases is confirmed by the dating of three poems. Two of them: “Here from the sea to the sea”, “These poor villages” were written in Roslavl on the same day - August 13, 1855, and one “How unexpected and bright” dates back to 1865.

These poor villages
This meager nature -
The native land of long-suffering,
You are the edge of the Russian people!
He won't understand or notice
Proud look of a foreigner,
What shines through and secretly shines
In your humble nakedness.
Dejected by the burden of the godmother,
All of you, dear land,
In slave form, the King of Heaven
He came out blessing.
August 13, 1855. Roslavl.

Nowadays, the road from Moscow to Ovstug takes 8 hours, and from Roslavl to Ovstug - in general, no more than an hour and a half. It would be a sin not to go to the homeland of the great Russian poet - and we went to Ovstug. And they accelerated so much that they rushed past the main entrance to the estate and stopped just outside the outskirts, admiring the opening rural views. The village of Ovstug is located on eight hills that descend in steps to the Desna River.

Look to the left of the road - a windmill, look to the right - a water mill. And silence...

Ovstug has been mentioned in archival materials since the 16th century, but archaeological excavations clarify that back in the 2nd century. BC. Tribes of northerners, Vyatichi and Radimichi settled here. The name of the village came from pagan times: Stug - a parking lot, a settlement, Ovstug - a familiar, old parking lot. WITH XVIII century the village became Tyutchevsky, when a native of the lands of the Yaroslavl province - Second Major Nikolai Andreevich Tyutchev married the Oryol noblewoman Pelageya Denisovna Panyutina, who owned part of the Ovstug lands.

After admiring the surrounding views, we head to the estate - we drive back past the volost government.

In 1989, in the building of the volost government, thanks to the efforts of the chairman of the collective farm "Ovstug" B.M. Kopyrnov, folk artists of Russia Tkachev and director of the Tyutchev Museum V.D. Gamolina, the art and local history museum of the village of Ovstug was created.

Now from the building of the volost government there is a quite poetic view of the estate.

But the Tyutchev estate in Ovstug at one time suffered a fate common to all noble nests. After the death of Fyodor Ivanovich, none of his relatives lived here, so the estate was doomed to destruction and ruin. In 1912, the artist O. Klever captured the following picture - a collapsed balcony, crumbling plaster, boarded up windows, and pigs grazing in front of the house. Two years later, even this was gone - the house was dismantled into bricks. Some of these bricks were used in the construction of the parish government building. In 1941, the grandfather’s church was blown up and centuries-old alleys in the park were cut down.

In the early 50s, on the site of the manor house there was a cattle farm. But there are still real enthusiasts and patriots in Russia - a young local school teacher originally from Ovstug, Vladimir Danilovich Gamolin, decided to restore the estate almost from scratch and did it. Not immediately - thirteen years, the museum of F.I. Tyutchev was located in one room of the dormitory for young teachers, which previously housed a school for peasant children.

This school was once created through the efforts of F.I. Tyutchev and his daughter M.F. Birileva (Tyutcheva) in 1871.

In 1961, the first monument to Tyutchev by sculptor G. Kovalenko was erected near the school and the first Poetry Festival in the country was held.

And here in front of us is the main front entrance to the estate. The manor's trellises enclose an area of 7 hectares, and the gates have a simple but exquisite design.

Now we can see the estate on the picturesque river bank, the shady alleys of the park, the classical architecture of the manor house and a picturesque pond with a gazebo on an island. The concept of the museum-estate was developed on the initiative of the museum director V.D. Gamolin and Deputy Governor of the Bryansk Region B.M. Kopyrnova in 2000.

Before entering the estate, next to the school, there is the Church of the Assumption of the Blessed Virgin Mary. It was revived with charitable funds from the Bavarian company Knauf in 2003.

Initially, the Church of the Assumption of the Virgin Mary was built at the end of the 18th century by the decision of Nikolai Andreevich Tyutchev, the poet’s grandfather.

The main alley of the estate leads to the manor house.

On the right is the main house of the estate, and on the left is the guest house.

This is what the Tyutchev manor house in Ovstug looks like now.

The guest wing was recreated according to the design of O. Klemanova, M. Bolotnikova, O. Grozeva in 2003. A high foundation and a strict porch-terrace make the building noticeable and elegant.

A view of the manor houses from the park.

In the manor park...

In 1978, a monument to the poet was erected in the park, made by A.I. Kobilinets.

A simple and elegant gazebo on an artificial island greatly enhances the landscape. A white bridge connects the shore of the reservoir and the island.

In 2002, work was carried out to restore the manor park under the leadership of Professor V.A. Agaltsova. And now, just like before, the gazebo offers wonderful views of the park, the house, and the entire neighborhood.

And the view from the park to the bridge and the parish government is amazing.

Old trees in the park create a romantic mood.

Ivan Nikolaevich Tyutchev, the poet’s father, was buried near the walls of the church in 1846. A memorial sign on my father’s grave is a column on a granite pedestal, installed in 1998.

This is how the estate of F.I. was recreated through the efforts of people. Tyutchev - the great Russian poet.

But the story about the estate will be incomplete without a story about its inhabitants, so to be continued...

As we can see, there are many attractions associated with Tyutchev in Ovstug, and every building on the territory of the estate and beyond is worthy of attention. However, the main one among them is the poet’s house, built in the late Empire style. The mezzanine, porticoes, ramp and balconies give it a special charm.

Poet's House

Fyodor Ivanovich Tyutchev wrote about the house: “It is really very good, and the view from the garden is very beautiful. I will be extremely happy, I assure you, to see everyone here next summer.”

The restoration of the interior of the house was greatly helped by an interesting document from 1874 - “Security Inventory of Movable Property...” by Privy Councilor F.I. Tyutcheva. The document records the decoration of each room, which allows us today to talk about detailed memorialization of the halls of the poet’s house-museum.

Residential interiors are always the focus, the scene of action of everyday life. They reflect both the personal tastes of the owners and the dignified attitudes of the era, for example, the concept of comfort. A walk through the poet’s house allows you to get in touch with the rules and traditions of bygone days.

Showroom

A suite of real rooms, carefully recreated in the style of the first half of the 19th century, will take us from the lobby to the ballroom, allowing us to look into the poet’s study and cozy living room, see the state rooms and the hostess’s boudoir. There are paintings, graphics on the walls, books on the tables, things that the poet could have used. Numerous family portraits hanging on the walls create the effect of the constant presence of the former owners of the estate. With the help of such an obvious design technique, the continuous connection of generations is visibly embodied. The departed continue to live not only in memories, but also in family albums, correspondence, relics, memorabilia, embroidery, and herbariums. In a manor house, diverse things coexist in a friendly manner: large portraits and chamber works, first-class works by professional artists, and then - which is impossible in an art gallery, but acceptable in a residential building - amateur things that tend to be primitive, which creates the effect of the completeness and diversity of a residential building.

Slavic corner. Literary exhibition

Upon entering the house, visitors find themselves in showroom, where they are greeted by a new exhibition - “Poets - Diplomats of Russia”. Portraits of Kantemir, Fonvizin, Griboyedov, Polonsky, Batyushkov, Maykov, Tyutchev, Perovsky, Tolstoy, Chicherin, Lavrov and others are presented here, sheets of diplomatic dispatches, personal belongings and lifetime editions of books by diplomats of the 18th-19th centuries are shown. Over the following centuries, the continuity of the close unity of diplomacy and poetry has been preserved: among modern diplomats there are poets who write “for themselves” and laureates of national and international poetry competitions; poet-diplomats write poems in a foreign language and translate poems of foreign poets into Russian. The strict bureaucratic profession of a diplomat, requiring strict self-control, and freedom-loving poetry, recognizing only the impulses of the soul and mood, unexpectedly found a point of contact - a balanced, precise, informative Word.

General view of the second hall

« When decorating the hall, we tried to present the history of the development of diplomacy from Zakhary Tyutchev (XIV) to the present day,- say the museum staff. - The exhibition features a map of Russia in the 19th century, copies of the most important documents, portraits and lifetime editions of books by Russian poets and diplomats. In the center of the museum complex there is a strict, official table of a government official with all the attributes».

Next room - lobby house-museum of F.I. Tyutcheva. Opposite the main entrance there is a sculptural image of F.I. Tyutchev works by G.N. Yastrebenetsky. On both sides of him on the wall there are copies of portraits of Emperor Nikolai Pavlovich and his heir Alexander the Liberator, who ruled during F.I.’s public service. Tyutcheva.

Lobby

The side walls of the hall are decorated with large paintings by Moscow artists B.M. Beltyukova and V.A. Litvinov, representing Tyutchev with his family against the backdrop of the Ovstug estate and with literary friends in the Summer Garden of St. Petersburg. Next, guests can go to the hall telling about the childhood years of the life of Fyodor Ivanovich Tyutchev. Here are portraits of the parents: the kindest Ivan Nikolaevich and the emotional Ekaterina Lvovna; portraits of his elder brother Nikolai and sister Daria; portraits of contemporaries who determined the cultural and historical background of that time: Zhukovsky, Karamzin, Osterman, Vyazemsky, Merzlyakov. Of particular memorial value in this room is the Velenius piano, donated by the grateful student F.I. Tyutchev to the first teacher S.E. Raichu. The teacher's heirs carefully preserved the family heirloom and donated the instrument to the museum in the 1990s.

Turning right, guests enter the so-called Munich Hall museum, telling about the foreign period in Tyutchev’s life. In 1822, the aspiring diplomat Fyodor Ivanovich left Russia for the capital of the Bavarian principality - Munich; he returned in 1844 with the rank of state councilor. For Tyutchev, these were years of intense cultural life, meeting talented people, comprehending the depths of philosophical and diplomatic sciences, joining the school of romantic German poetry...

Munich Hall

Munich corner. Literary exhibition

The hall is decorated with portraits of German beauties: Amalia Lerchenfeld (the poet’s first love), Eleanor Botmer (Tyutchev’s first wife), Ernestina Dernberg (the poet’s second wife). Pieces of furniture in the Rococo style made it possible to recreate the “blue corner” of the Munich living room in the Tyutchevs’ house. This hall begins the ceremonial enfilade of the poet’s house, which, as expected, ends with a large window, a kind of exit to infinity.

The next room allows you to see study, decorated with family portraits of ancestors. Of particular interest here is a desk donated to the museum by the poet’s heirs. There is a grandfather clock in the Empire style against the wall, which, according to family legend, was chosen and purchased for the house by the poet’s father, Ivan Nikolaevich Tyutchev.

Memorial office. Exposition fragment

The first thing we pay attention to when entering the office is the poet’s desk, next to which there is a slightly set aside chair, in it are carelessly thrown gloves and a blanket. On the wall near the window there is an ancient icon “Soothe Pains” (heal from diseases). On the table there are books, manuscripts, a writing instrument, a pen in disarray, and there is a candle in a candlestick. A scattering of everyday little things - it is this that satisfies the thirst for authenticity that is so characteristic of our days. With this arrangement, the museum staff wanted to show a piece of the world that the poet saw, to see this environment through his eyes, to hear it with his ears, and to help visitors travel back to years gone by, immerse themselves in the past, and look at the world around us from the outside. After visiting Fyodor Ivanovich’s office, I feel the need for Tyutchev’s word, for his poetry.

Memorial office

In the interior of the office, our attention is drawn to an open window, an ajar door, behind them - bent branches of a birch tree, thickets of lilac, a breath of wind... The world outside the window is fascinating, perceived as a poetic metaphor.

Not what you think, nature:
Not a cast, not a soulless face -
She has a soul, she has freedom,
It has love, it has language...

Office F.I. Tyutcheva

According to family legend, it was in his office on December 31, 1852 that Fyodor Ivanovich Tyutchev wrote the poem:

Enchantress in Winter
Bewitched, the forest stands -
And under the snow fringe,
motionless, mute,
He shines with a wonderful life...

The next room in the enfilade is Green living room. It contains portraits of all Tyutchev’s children and a lovely portrait from the 1840s of the poet’s second wife, Ernestina, made by the artist Durk. From the living room you can go out onto the balcony, which overlooks the park and where the Tyutchev family held tea parties on summer evenings. The front suite of rooms ends with the Scarlet Living Room - a large hall for holding receptions, receptions and musical evenings. The room is decorated in the unique shade that the owner of the house, Ernestina Tyutcheva, liked. This made it possible to create a special atmosphere of comfort, warmth and friendliness, undoubtedly inherent in her character. Ernestina's desk, sofa, bookcase with her favorite books, lamp and other original things fit well into the recreated interior.

Green living room

Green living room with a portrait and drawings by Ya.P. Polonsky

Green living room with a portrait of E.F. Tyutcheva

Leaving this hall, we find ourselves in a small corridor and are faced with a choice: turn left and go through all the rooms of the house in a circle, or go straight to the stairs leading to the rooms on the second floor. We choose the last option and continue our tour of the house.

During Tyutchev’s years, there were five rooms on the second floor level, however, the repair and restoration activities carried out in the museum have not been completed, and only three rooms are still open to guests: the daughters’ room, the hostess’s boudoir and the museum hall, which combined the library, children’s and guest rooms.

IN daughters room The decoration consists of objects from different eras and styles: a chest of drawers with a mirror, soft, comfortable chairs, a table for needlework, donated by F.I. Tyutchev, a bed under a handmade bedspread... The furniture is arranged freely, as if carelessly, forming “corners”, creating ease, comfort and warmth. Of particular value in this exhibition is a tablecloth embroidered by the poet’s youngest daughter, Maria Feodorovna, and a box for writing instruments, a gift from F.I. Tyutcheva.

The room of the youngest daughter of the poet M.F. Tyutcheva

Memorial table and tablecloth embroidered by M.F. Tyutcheva

From the daughters' room you can go to boudoir of the hostess - Ernestina Fedorovna.

General view of the room of Ernestina, wife of F.I. Tyutcheva

E.F.'s room Tyutcheva with a memorial sofa and books

There was always a wardrobe with favorite books, low, comfortable armchairs, a bed, protected from indiscreet eyes by a high screen, a desk and a bureau with a supply of ink, goose feathers and paper. Particularly interesting is the furniture set, which, according to the heirs, Ernestina saw in a Moscow store, purchased and immediately sent to Ovstug. The set includes perfectly preserved items: an elegant bookcase, a card table, a bedside table and a comfortable sofa.

From Ernestina’s boudoir you can return to the landing and from there go to the hall conventionally called “The Heirs of the Poet.” The story about the life of the village, the family estate after the death of the poet, about the fate of relatives and friends helps to tell the things and documents transferred to the museum by the heirs of F.I. Tyutcheva.

Of particular interest are the documents of F.F. Tyutchev - the illegitimate son of the poet from E.A. Deniseva: photographs, albums, books, cigarette case and writing instruments.

The exhibition in the Scarlet Living Room is dedicated to
Petersburg period of F.I.’s life Tyutcheva

An exhibition dedicated to M.F. and N.A. Birilev

The poet’s great-niece, Irina Vyacheslavovna Kalitaeva, donated a unique collection of ceramics to the museum: panels, vases, tiles.

Censor's office.
A fragment of the literary exhibition in the Red Hall

Grand piano from Velenius - a gift from F.I. Tyutchev to his teacher S.E. Raichu

After viewing the exhibition and receiving true pleasure from touching the beautiful, visitors go down the stairs to the first floor, go out into the lobby and leave the poet’s house-museum.

Our homeland is full of numerous historical monuments that remind us of past times. Such attractions, of course, include numerous palaces and religious buildings that have survived to this day.

However, lesser-known buildings, such as family estates or estates, also have considerable charm and historical value. This article will be dedicated to the message about the estate of F.I. Tyutchev in Ovstug. In it you will find interesting facts about its creation and reconstruction. Photos of Tyutchev’s estate in Ovstug will also be presented.

However, before you get to know the building itself and its architectural ensemble, you should get brief information about its famous owner.

Childhood of the poet-thinker

So, we will begin the message about Tyutchev’s estate in Ovstug with an acquaintance with Fyodor Ivanovich himself. The future writer was born on his parents' estate at the end of 1803. The boy spent his entire childhood at home, where he received the best education, studying languages and other sciences.

Therefore, all his life Tyutchev remembered with tenderness the family estate in Ovstug. For him, she was a sign of a happy and serene time, a symbol of boundless freedom and fusion with nature. It was here that the young poet first wrote his rhymed lines. It was here that he first realized the beauty of the world around him, which he began to sing about.

Parents did little with this boy, who had a subtle soul and thoughtful character. For a long time he was left to himself, to his thoughts and judgments. And this self-education had a huge impact on the poet’s entire subsequent life, as well as on his creative path.

At the age of fourteen, young Tyutchev began attending lectures at Moscow University, after which he received an honorable place in the public service.

Mature years

Having barely received his education, the young man went abroad with the Russian diplomatic mission, where he stayed for more than twenty years. Then he moved to Russia, received many honorary ranks and titles, prizes and awards.

However, even while holding the rank of Privy Councilor, Fyodor Ivanovich did not forget about his only calling - literature. He wrote a lot. His journalistic articles and lyrical works enjoyed great success.

Died at the age of 69 from a stroke.

What is the history of Tyutchev's estate in Ovstug?

History of the foundation of the estate

It all started in the seventies of the eighteenth century, when the poet’s great-grandfather received huge land holdings as a dowry for his wife. He decided to build his estate on them.

At first it was an ordinary wooden structure two floors high. Little Fedya was born in it.

The poet’s father, more than sixty years after the founding of the manor house, decided to rebuild it and hired a fashionable architect for this. We will talk in more detail about the architectural ensemble of the new building.

Remodeling the estate

The Tyutchev estate in Ovstug, built in the classical Empire style, is a vivid embodiment of the architectural features of that time. The ground floor was intended for utility (utility) premises. The first floor featured grandiose high ceilings and an enfilade-style arrangement of rooms. The entrance to the manor's house was decorated with a graceful colonnade.

The elegant completion of the house was the mezzanine, located in the middle of the architectural structure and topped with a dome with a lantern and a spire, on which a flag with the image of the family coat of arms was raised.

Internal description of the house

The Tyutchev museum-estate, opened not long ago, amazes with the beauty and quality of its interior decoration. The interior of the manor house was recreated according to written documents that have survived to this day through the centuries.

Here you can see the owner’s sturdy desk, the elegant boudoir of a socialite, massive sofas, woven carpets, and so on. It is noteworthy that some of the furniture was recreated based on ancient sketches, and some were brought from capital museums.

Each room of the manor house has its own purpose. There is a reception room for close guests, a bedroom for the mistress of the house, and a spacious hall for social evenings.

Adjoining outbuilding

However, the manor house is not the only building in Tyutchev’s estate in Ovstug. In its immediate vicinity lies a one-story outbuilding, as it was called in the poet’s time - a guest house.

This building immediately catches the eye of visitors to the Tyutchev estate museum in Ovstug. A high-set foundation, a porch in the form of a terrace and a small colonnade at the entrance give the building an elegant, even festive look.

The rooms in the guest wing are very cozy and warm. It is clear that the owners of the estate took into account all the necessary points before building the extension.

Lonely gazebo

The manor house, framed by a densely planted park, is buried in the shade of brightly burning greenery. It was among natural plantings that an island surrounded by an artificially created reservoir was dug by order of the poet’s grandfather (Nikolai Andreevich Tyutchev).

A small gazebo was placed in the center of the island, the strict but elegant style of which still excites the imagination of all visitors.

The island and the main part of the park are connected by an elegant white bridge, especially loved by visitors as a good place for photography.

Daughter's school

On the territory of the Tyutchev estate in Ovstug there is another building, the value of which is justified by time. This is a one-story school, which was rebuilt at her own expense by Fyodor Ivanovich’s daughter, Maria Birileva. The woman strongly advocated for the spread of literacy among ordinary people. Over time, the building was converted into a model school, which provided five-year training for young students.

A teacher lived at the school and was given his own room. Now the building houses a museum exhibition that reveals the life of pedagogical figures of that time.

Religious building

One of the oldest buildings on the manor's estate is the Orthodox Church. Its distinctive features are wooden arched decorations, a high metal spire and massive brick vaults.

Mills

Since the riverbed of a small river, a tributary of the Desna, runs around the village of Ovstug, water mills were built here at the very beginning of the foundation of the estate. And although they did not bring much income to the master, they still regularly ground the grain into flour.

Nowadays, several mills have been erected on the territory of the museum - exact copies of former structures that amaze modern travelers with the enormity of their size. Thus, the windmill, built according to ancient sketches and erected on the most elevated place near the village, has a height of more than sixty meters.

The fate of the estate

During the October Revolution, the estate lost its former appearance, and over time fell into disrepair and was dismantled for building materials.

However, already in 1957 it was decided to open the Tyutchev Museum within the walls of the former school. Much later, at the beginning of the twentieth century, numerous reconstructions of the estate took place, thanks to which the museum complex was enriched with a manor house, a gazebo, a church and many other architectural exhibits mentioned above.

Museum today

Nowadays, the Tyutchev estate museum has rich exhibitions and luxurious exhibits. They amaze visitors not only with the characteristic architectural style of that time, but also with remarkable interior items of the manor house. Things, as well as the interior design of the building, largely correspond to the true realities of the past. According to museum managers, among the exhibits you can find items that belonged directly to the Tyutchev family.

The structure of the excursion program itself is also impressive. Each of the halls is dedicated to one or another cycle from the life of the famous poet. A lot is told here about his stay abroad, about his love experiences and adventures, family members, and so on.

The walls of the state rooms are decorated with ancient portraits depicting the poet himself and the people he met throughout his life. Much attention is paid to his two wives, as well as daughters from his first marriage and his most famous mistresses.

Among the exhibits you can see Tyutchev’s poems, written in his own hand, on paper faded by time, as well as his letters and personal belongings.

How to get to Tyutchev's estate in Ovstug?

This question interests many connoisseurs of antiquity, as well as all those who are partial to Russian poetry. Tyutchev's estate in Ovstug (the address of which will be indicated below) attracts the attention of not only lovers of ancient architectural buildings, but also those who admire the work of the wonderful poet. By visiting the museum, you can not only increase your knowledge of the architectural or historical features of that time, but also become more closely acquainted with the personal life of Fyodor Ivanovich, with his creative and social activities.

So, where is Tyutchev’s estate located? The village of Ovstug is located in the Zhukovsky district. To get to the village, you need to take the Bryansk-Novoselki regular bus (departing from the bus station of the regional center according to the established schedule) and get to the stop “Selo Ovstug”.

The specific address of the museum is Tyutcheva Street, building 30.

How the museum works

According to the operating hours of the Tyutchev estate in Ovstug, you can visit the museum on all days except Monday. On Sunday, as well as from Tuesday to Friday, the doors are open for numerous tour guides, starting from nine o'clock in the morning and ending at five o'clock in the evening. On Saturday, the estate welcomes guests an hour longer: from nine in the morning to six in the evening.

A little about the price

The cost of visiting the museum depends on the purpose of your visit. If you just want to explore the park, such a walk will cost one hundred rubles. If you also want to see the manor house, you will need to pay 150 rubles for a ticket. For students (upon presentation of the required document), a visit to the museum and park will cost seventy rubles.

If you want to visit the estate with a guide, such a visit will cost 150 rubles for an adult and 100 rubles for a schoolchild or student.

Taking photographs and filming on the museum grounds is permitted only for a fee - seventy and two hundred rubles, respectively.

However, there are also pleasant benefits. Children under sixteen years of age, disabled people of the first group (with one accompanying person), military personnel, participants of the Second World War, the Afghan and Chechen wars can visit the estate free of charge.

These poor villages

This meager nature -

The native land of long-suffering,

You are the edge of the Russian people!

He won't understand or notice

Proud look of a foreigner,

What shines through and secretly shines

In your humble nakedness.

Dejected by the burden of the godmother,

All of you, dear land,

In slave form, the King of Heaven

He came out blessing.

Ovstug has been mentioned in archival materials since the 16th century, but archaeological excavations clarify that back in the 2nd century. BC. Tribes of northerners, Vyatichi and Radimichi settled here. The name of the village came from pagan times: Stug - a parking lot, a settlement, Ovstug - a familiar, old parking lot. Since the 18th century, the village became Tyutchevsky, when a native of the lands of the Yaroslavl province, Second Major Nikolai Andreevich Tyutchev, married the Oryol noblewoman Pelageya Denisovna Panyutina, who owned part of the Ovstug lands.

In 1961, the first monument to Tyutchev by sculptor G. Kovalenko was erected near the school and the first Poetry Festival in the country was held. And here in front of us is the main front entrance to the estate. The manor's trellises enclose an area of 7 hectares, and the gates have a simple but exquisite design.Now we can see the estate on the picturesque river bank, the shady alleys of the park, the classical architecture of the manor house and a picturesque pond with a gazebo on an island. The concept of the museum-estate was developed on the initiative of the museum director V.D. Gamolin and Deputy Governor of the Bryansk Region B.M. Kopyrnova in 2000.

Initially, the Church of the Assumption of the Virgin Mary was built at the end of the 18th century by the decision of Nikolai Andreevich Tyutchev, the poet’s grandfather. The guest wing was recreated according to the design of O. Klemanova, M. Bolotnikova, O. Grozeva in 2003. A high foundation and a strict porch-terrace make the building noticeable and elegant.A simple and elegant gazebo on an artificial island greatly enhances the landscape. A white bridge connects the shore of the reservoir and the island.In 2002, work was carried out to restore the manor park under the leadership of Professor V.A. Agaltsova. And now, just like before, the gazebo offers wonderful views of the park, the house, and the entire neighborhood.

A mezzanine with a dome-lantern and a spire for a flagpole on which a flag with the family coat of arms was raised was placed over the middle part of the house. From the park side there was a ramp adjacent to the balcony-terrace. F. Tyutchev, in a letter to his mother dated August 31, 1846, wrote: “...As for the new house, it is really very good, and the view from the garden is very beautiful...”.

In 1949, in the Parisian magazine "Renaissance" (1949-1974), the Russian writer and translator Boris Konstantinovich Zaitsev (1881-1972), one of the last representatives of Silver Age literature, published the essay "Tyutchev: life and fate: (on the 75th anniversary of his death )". He wrote wonderfully and somehow heartfeltly about the fate of F.I. Tyutchev, including about his childhood years spent in Ovstug:

"...Like clear stars in the night." These are Tyutchev's poems. Yes, stars. “Admire them - and be silent.” But poems are born of life. Tyutchev's poems especially came from his life and fate. Maybe this life itself is some kind of work of art?
Its beginning is illuminated almost magically; luxurious house on the Ovstug estate (Bryansk district, Oryol province). An elegant, affectionate boy, very gifted, his mother's darling. The house has a mixture of Orthodox spirit with French influences. - This is how it has always been in the Russian nobility. The family spoke French, and in her room Ekaterina Lvovna, the poet’s mother (nee Countess Tolstaya), read Church Slavonic books of hours, prayer books, and psalters.
The “young prince” grew up freely. I studied, but it cannot be said that I was tormented by work - a broad, relaxed attitude towards work remained forever.
In 1821 he graduated from the University, in February 22nd he was already in St. Petersburg, serving in the College of Foreign Affairs, and in June Count Osterman-Tolstoy, a relative of his mother, takes him abroad in his carriage. He is satisfied with a supernumerary official of our mission in Munich.

Now, as before, in a manor house the rooms are arranged around a narrow central room with a staircase leading to the mezzanine and ground floor. The rooms are connected to each other in an enfilading manner; the mezzanines have exits to balconies. The furnishings of the memorial rooms were purchased from collectors in accordance with the property inventory. The exhibition includes a number of authentic items by F.I. Tyutchev and his relatives.
The internal layout of the halls on the first floor only partially corresponds to what it was during the poet’s life. Through the central entrance on the south side we enter the lobby of the house-museum.

On the opposite walls of this room hang paintings illustrating Tyutchev’s St. Petersburg and provincial life. On the left on the wall next to the picture in which Fyodor Ivanovich is surrounded by the inhabitants of the estate against the backdrop of all the estate buildings, there is a portrait of the first teacher and educator F.I. Tyutchev Semyon Yegorych Raich - teacher, poet, expert and translator of ancient and Italian poetry. He was also Mikhail Lermontov's teacher.

On the other wall is a painting by the artist S. Litvinov “Tyutchev in St. Petersburg”.

The next hall of the museum is dedicated to Tyutchev’s childhood and youth years. In this room there are portraits of parents, views of Ovstug and Moscow, books from the Tyutchev library, antique furniture.

In the center of the hall there is a museum exhibit of special value - a grand piano from the Velenius company, donated by F. Tyutchev to his first teacher S.E. Raichu.

Fyodor Tyutchev's father, Guard Lieutenant Ivan Nikolaevich, married Moscow noblewoman Ekaterina Lvovna Tolstoy in 1798. The young family was happy in the family estate, which was famous for its hospitality.
Ekaterina Lvovna was the daughter of Lev Vasilyevich Tolstoy and Ekaterina Mikhailovna Rimskaya-Korsakova. Her father’s sister, Anna Vasilyevna Osterman, and her husband F.A. Osterman played a big role in the fate of her niece and her family.

Panorama of Bryansk in the 19th century by artist G. Khludov.

In the office there is a desk-bureau, given to F. Tyutchev by his elder brother. On the table is an inkwell, a quill pen, and above the table is a German-made barometer, made in 1843. It shows the change in atmospheric pressure today.

One of the museum halls is dedicated to Tyutchev’s foreign years. Tyutchev spent more than 20 years in Europe. Service in the State Collegium of Foreign Affairs did not bring Tyutchev ranks or awards, but it allowed him to travel all over Europe, become familiar with the foundations of German poetry, meet his first love and experience the first pain of irreparable losses. The portraits on the walls of this room introduce us to the relatives and friends of F. Tyutchev.
Baroness Amalia von Krüdener is a famous beauty of high society of the 19th century, the poet’s first love, the addressee of his famous poem “I met you and all the past...” and others called the “Munich cycle”.

Let us again turn to the text of Boris Zaitsev:

The affair with Amalia Lerchenfeld, from which a treasure remained in literature, did not have a major impact on Tyutchev’s life; it did not break either Amalia Maximilianovna (who was sixteen years old) or him. It was all very young and innocent. Nothing decisive happened, everything melted and evaporated by itself, but good relations remained forever. Amalia Maximilianovna married, first to Baron Krudner, then to Count Adlerberg. She lived in Russia and was always an allied power to Tyutchev. It was she who brought his poems to St. Petersburg in 1936, and she later worked for him before the government - through Benckendorf. And quite late, three years before his death, having met her in Carlsbad as an already middle-aged woman, Tyutchev wrote her tender, not as famous as the earlier ones, but still good poems. (“...And the same charm is in you, and the same love is in my soul”).
In 1826 he married in Munich Mrs. Peterson, née Countess Bothmer, "a representative of the oldest Bavarian aristocracy." This is already fate - twelve years of life together, three daughters, joy and sorrow, drama and jealousy (they were always jealous of Tyutchev, him, not he - the fate in this is different from Pushkin). Like Amalia Maximilianovna, Emilia Eleonora was a beauty, apparently, and generally a charming woman, with an ardent character and strong feelings. Besides her, he was also attracted to others. In general, by his nature, he could not be faithful - the “eternally feminine” appeared to him in different guises and seduced him. In Munich life this led to the fact that one day Emilia Eleonora tried to stab herself with a dagger in the street. (He himself admitted that she loved him as “no man has ever been loved by another.”)

Portraits of Eleanor, the poet's first wife, and three daughters from this marriage hang in the same room. In the person of Eleanor, Tyutchev found a loving wife, a devoted friend and constant support in difficult moments of life.

Portrait of Ekaterina Fedorovna Tyutcheva by artist I.K. Makarova is Tyutchev’s daughter from his first marriage. She was brought up at the Smolny Institute, was a maid of honor to Empress Maria Alexandrovna, a writer and translator.

Here is also presented a graphic portrait of Tyutchev’s second wife, Ernestina, a woman of remarkable beauty and intelligence, as the writer I.S. wrote about her. Aksakov.

And again - text by Boris Zaitsev:

The power of feeling and experience in Tyutchev himself is also amazing, despite the scattered, fan-shaped eros: when Emilia Eleanor died in 1838, he turned gray overnight from shock. But at the same time he loved another, his future second wife, also with a difficult and dramatic love.
This other one was also of German origin, also an aristocrat, also a widow, and also four years older than him - Baroness Ernestina Feodorovna Dörnberg-Pfeffel. In 1837, Tyutchev received a promotion - he was appointed to Turin, senior secretary of our embassy at the Sardinian court. His wife, Emilia Eleonora, was leaving for Russia, and he was left alone. In the spring of 1838, she was returning from St. Petersburg on the same “Nicholas I” on which young Turgenev sailed. Near Lübeck, a fire started on the ship at night, and it sank not far from the shore. Emilia Tyutcheva and her three children behaved courageously on the deck, calming the children, standing at the gangway, where the flames were raging below, on the side - they were waiting for their turn to go down into the boat. In this she showed herself to be much superior to Turgenev. But her health was already broken, she returned home to new hardships with her husband, the nervous shock at sea was still great - this is what knocked her down. That same fall, Zhukovsky, then accompanying the heir, met with Tyutchev in Como (later on the Genoese Riviera, in Chiavari). He spoke about him like this: “an unusually brilliant and very good-natured person, after my own heart” - their paths always converged - but he was surprised that he was killed like this for the deceased, “but they say he loves someone else.” Not only “they say”, but Dernberg Tyutchev soon married Ernestina Fedorovna. This cost him dearly in his service.
He then lived in Turin. We had to get married in Switzerland. The envoy was absent, there was nothing to do during summer time, the marriage had to be rushed for a certain reason - Tyutchev acted decisively: without waiting for his vacation, he locked the embassy and left for Switzerland without permission.
Got married safely and on time. But he lost his service. He was just fired.

In summer, from the living room you could go out onto the terrace and ramp, go down to the park, and walk along the alleys. The only reminders of the former splendor of this room are the old piano in the corner and the secretary closet against the wall. In the center on the wall hangs another portrait of Tyutchev’s second wife, Baroness Ernestina von Pfeffel. From his first marriage, the poet already had three daughters, whom Ernestina actually adopted. She was a rich woman, and Tyutchev made no secret of the fact that he lived on her money for a long time.

One should not think that his Munich life consisted only of affairs of love. This brilliant, highly educated young man, in his portrait something like a young Goethe, in the then cut frock coat, high collars and tie, with a huge forehead, beautiful eyes and properly curly curls, devoted a lot of energy to other things: literature, philosophy. His communication is with people of high quality. Schelling considered him a “worthy interlocutor” (“...etn sehr ausgezeichneter Mensch, ein sehr unterrichteter Mensch, mit dem man sich immer gerne unterhalt”) - Schelling was then a professor at the University of Munich and Tyutchev, well-versed in German philosophy, not only with He talked to him, but also argued - having, obviously, equivalent weapons - he attacked especially along the Orthodox line.
In poetry, Goethe and Schiller were close to him, and he personally became friends with Heine - along the lines of romanticism. And he not only met, but also translated from him - the first translations of Heine into Russian belong to Tyutchev. (The more mature Tyutchev and the later Heine are, of course, not very compatible, but in Munich times this is not surprising.)
The main thing is that I started writing myself, and properly.

His artistic fate is mysterious.

Be silent, hide and hide
And your feelings and dreams...

This is the commandment from which he did not deviate a single step. I don’t know who could hide like that, conceal all of my most precious things like that. Peering into his life, you are amazed: how did he himself relate to his work? Yes, he wrote in great spontaneity, almost somnambulistic, always in the breath of poetry, magically transforming feelings, thoughts... There is no doubt that there is high creativity here. But why such extreme isolation from everyone? To yourself and to God? The artist knows this feeling:
You, the Almighty, are my judge. In Your eternity, my weak voice, Your creation, will enter, perhaps as a kind of spark, into the imperishable world and will remain, although I wrote this for myself.
It's clear. But that's not all. An artist is a human being. He lives among his brothers, and with his other side, facing people, he strives to introduce his creation into them. Which writer does not want to spread his word? How many dramas arise from the difficulty of reaching the reader! This is not just vanity: everyone who has given his life to literature considers his work important, and, therefore, awaiting a response.
Didn't a poet of Tyutchev's stature realize that his work, although quiet and solitary, was of enormous importance? Following his days, you get the impression: a diplomat, a philosopher, even a politician, an exquisitely reverent person, responding to the world, to nature, to female charm, a brilliant, witty interlocutor... - and by the way writes poetry... It’s as if for fun, and does not attach importance to them. Where is Pushkin, where is the profession, the invisible but persistent work?
So he returns home on a rainy evening, all wet. The daughter takes off his coat. He says casually: “J" ai fait quelques rimes” - and reads them. She writes them down. These are the famous “Human tears, oh human tears...” God knows, if Anna Fedorovna had not written them down, maybe they would not have survived?
Until 1836, almost no one had any idea that there was such a poet Tyutchev. Trivia appeared in little-known almanacs (Urania, Galatea) and magazines (like Rumor). Chamberlain Fyodor Ivanovich Tyutchev was writing poems. But this is not important for service, nor for life. It was necessary for his colleague, Prince Ivan Gagarin, to become interested in his writing. Amalia Maximilianovna took his poems to St. Petersburg - through Zhukovsky and Vyazemsky they got to Pushkin, who was then publishing Sovremennik. He published them in his magazine. Signature: F. T. - “Poems sent from Germany.”
Why give your full name? Let there be some kind of F.T. “from Germany”. This went on and on. The author did not pay any attention to his brainchild. It lived underground, on its own, and until now was little known. Some people appreciated him. But over the years - not a single printed review.
Then something very strange happens: from 1840 to 1854, for fourteen years, not a single poem was published at all. And now he wrote the most and perhaps the best.

The museum hall tells about the 50-70s of F. Tyutchev’s life. The first volume of the poet's poems, published in 1854, a lot of portraits of friends and contemporaries, views of St. Petersburg and Moscow fill this room today. On the wall, among many portraits, hangs a portrait of Elena Alexandrovna Deniseva.

But in his own destiny, in the early fifties, as well as in the sound of his writings related to love, not everything was finished. Even, perhaps, the strongest was coming. Tyutchev’s two daughters (from his first marriage), Daria and Ekaterina, studied at the Smolny Institute. Tyutchev was there. At the Institute's inspector, Anna Dmitrievna Denisyeva, he met her niece and student Elena Alexandrovna, a twenty-four-year-old girl.
Until now, in the list of Tyutchev's wanderings of the heart, the names of foreigners: Amalia, Emilia-Eleanor, Ernestina - now the Russian Elena appears. Another world enters with her. Previously, there were magnificent countesses in diamond necklines, with smooth curls above their ears. Elena Aleksandrovna Denisyeva, although a noblewoman, is one of the small ones; her father even served as a police officer in the provinces. Just look at the photograph of Elena Alexandrovna: modestly dressed, in a cape, combed like our mothers did their hair in the sixties, an intellectual with a heavy, nervous look, sickly, flaring up, charming in her excitability and already carrying drama within herself.
Tyutchev met the world of Dostoevsky. This is how Nastasya Filippovna, or Dostoevsky’s first wife, could feel and act. Her look matched her fate. This love brought her grief, which quickly turned into a relationship. Woe to Ernestina Fedorovna, his legal wife, with whom he continued to live - a cold woman, self-possessed and strong, who bore her cross with dignity. Woe to his adult daughters from his first marriage, woe to the girl Lela, daughter of Elena Alexandrovna. Himself too. But this is fate, nothing can be done. His fate included the slaughter of a young life, his sin, which gave rise to the high sounds of poetry. This poetry was paid for in blood.
Society did not forgive Tyutchev, and especially Elena Alexandrovna, for the “illegality” of their relationship. And she also had children! Many simply became acquainted with her, contempt and alienation hung over her. And at the Institute she knew Tyutchev’s daughters - so they had to meet, for example, when distributing codes. How she felt about it!

She understood little of his poetry. Most of all I wanted everything in the new edition to be openly dedicated to her. He didn’t go for it, and what came out was a terrible scene, straight out of Dostoevsky.
She had tuberculosis. A stormy life and heartache accelerated everything, and in July 1864, after fourteen years of communication with him, she died.

All day she lay in oblivion,
And shadows covered her all -
The warm summer rain was pouring - its streams
The leaves sounded cheerful.
And slowly she came to her senses -
And I started listening to the noise,
And I listened for a long time, - captivated,
Immersed in conscious thought.
And so, as if talking to myself,
She said consciously:
(I was with her, killed but alive)
“Oh, how I loved all this!”
You loved, and the way you love -
No, no one has ever succeeded.
Oh God!.. and survive this...
And my heart didn’t break into pieces.

If she had seen from the grave how he accepted her death, perhaps she would have believed more in his love - although she generally needed infinity: all or nothing. This is what Anna Fedorovna Tyutcheva, his daughter, who then lived in Germany, says about her father and his situation at this time. “I took communion in Schwalbach. On the day of communion, I woke up at six o'clock and got up to pray. I felt the need to pray with special zeal for my father and for Elena D. During mass, the thought of them again appeared to me with great vividness. A few weeks later I learned that it was on this day and at this hour that Elena D. died. I saw my father again in Germany. He was in a state close to insanity...” And further: “He was chained with all the strength of his soul to that earthly passion, the object of which had disappeared.”
She herself came to the sad, terrible thought that God would not come to the aid of his soul, “whose life was wasted in earthly and unlawful passion.” And the tragedy continued: another lamb was sacrificed. Lelya, the daughter of Tyutchev and Denisyeva, a girl of about fifteen, studied at the famous St. Petersburg boarding house Truba (she bore the name Tyutchev, he legitimized her). One day a lady, the mother of Lelya’s peer at the boarding school, asked her how her mother was doing - meaning Ernestina Fedorovna. Lelya did not understand and answered about her mother. The misunderstanding was immediately cleared up. This made such an impression on the girl that she ran away from the boarding house and told Anna Dmitrievna that she would never return there again. She fell ill with a nervous disorder. And followed by fleeting consumption, and she died - on the same day as her one-and-a-half-year-old brother Kolya.
This has passed the literature by. The death of the mother is glorified in poetry. There is nothing about the daughter's death.
This is how the amazing man Fyodor Ivanovich Tyutchev, the once young prince of Ovstug, his mother’s favorite, a dreamer who did not fit into any framework, a musician of poetry who violated his contemporary canons, anticipating the future, a young diplomat and a great winner of women’s hearts, ended his life. Silentium and the boiling of passions, a contemplator of the greatness of the world and an unreconciled soul, the soul of Purgatory, a believer, but controlled by passions, a great artist, as if reluctantly scattering his wealth.

But glory came - late and posthumous, noble, real golden glory. In art, to which he seemed to treat so indifferently and carelessly, he turned out to be a winner - late, but lasting. Life, which seemed to magically smile at him from early childhood, brought success after success, behind one woman’s heart another, and a third... - and we still don’t know which one! - it was she who brought defeat. It seems to be a kind of law: lyricists are conquered by life. They are too sleepwalking and somnambulistic. They are too exposed to the elements, being their faithful harps. Tyutchev's life can be considered as a work of art: his name is drama.
Nikitenko wrote in his diary in June 1873: “The week passed in the fight against death. Tyutchev himself remembered the priest, but could not confess - his tongue did not obey him.” He died in the arms of Ernestina Feodorovna, aware of all the burden and difficulty of what he had lived through, all the responsibility of his soul, “painfully sinful,” and in the most terrible moments, already broken by paralysis, seeing death, he held on to his old friend - the last consolation.

The executing God took everything from me:
Health, willpower, air, sleep,
He left you alone with me,
So that I can still pray to Him

Autograph of F.I. Tyutcheva:
You can't understand Russia with your mind,
The general arshin cannot be measured:
She will become special -
You can only believe in Russia.

Used literature: Zaitsev B.K. Tyutchev. Life and fate (To the 75th anniversary of his death) // Zaitsev B.K. Collected works: T. 9 (additional). - M.: Russian Book, 2000. - P. 256-269.