Since ancient times, among the representatives of the highest Russian aristocracy there were patrons who contributed to the development of Russian art. Their activities made it possible to reveal many national talents that contributed to the rise to a new level of the spiritual life of the country. Among them was Count Nikolai Petrovich Sheremetev, whose biography became the basis for writing this article.
Heir to untold wealth
Nikolai Petrovich Sheremetev was born on July 9, 1751. By fate, he became the heir to one of the richest and most noble families of Russia. His father, Pyotr Borisovich, the head of the Sheremetev family, became the owner of one of the greatest fortunes in the country, marrying the daughter of a prominent statesman, Chancellor of Russia - Prince A. M. Cherkassky.
At one time he was widely known as a philanthropist and patron of art. The palaces of St. Petersburg and Moscow belonging to Peter Borisovich kept the most valuable collections of paintings, porcelain and jewelry. However, his main glory was the home theater, whose performances were not averse to visiting sometimes even members of the reigning House.
Being brought up in a family where stage art was perceived as one of the highest manifestations of spirituality, his son Nikolai fell in love with the scene from an early age and made his debut at the age of 14, playing the part of the god Hymeney. Together with him, his friend, heir to the throne, Tsarevich Pavel, took part in the plays of his father’s theater.
Overseas voyage of a young count
In 1769, Nikolai Petrovich Sheremetev went to Europe, where, as a representative of the noblest and richest Russian family, he was represented at the courts of France, Prussia and England. He completed his journey in Holland, where he entered one of the most prestigious educational institutions of that time - Leiden University.
But the young count devoted his time to more than one academic discipline. Rotating in the highest circles of European society, he personally met many of the foremost people of that era, among whom were the famous composers Handel and Mozart. In addition, taking this opportunity, Nikolai Petrovich thoroughly studied theatrical and ballet art, and also improved his ability to play the piano, cello and violin - instruments that he learned to master from childhood.
Departure to Moscow
Upon his return to Russia, Nikolai Petrovich Sheremetev was appointed director of the Moscow Bank and was forced to change the front of St. Petersburg to quiet and patriarchal Moscow. It is known that the Empress Catherine II, fearing the possibility of a coup d'etat, under plausible pretexts removed from the capital all the friends and possible accomplices of her son, Tsarevich Paul. Since long-standing friendship was connected with the heir to the throne of Sheremetev, he also fell into the number of undesirable persons at court.
Finding himself in this “honorable exile”, Nikolai Petrovich did not consider himself deprived of fate, but, taking advantage of the opportunity, proceeded to the construction of a new theater premises in the Kuskovo family estate near Moscow. Since that time, the Sheremetev’s fortress theater began to give performances on two stages - in the previously erected extension to their house on Nikolskaya Street and in the newly rebuilt building in Kuskovo (photo of the latter is placed below).
Fortress Theater of Count Sheremetev
According to contemporaries, the performances of no serf theater in Russia of those years could not compete with the level of performances of the Sheremetev troupe. Thanks to the knowledge acquired abroad, Nikolai Petrovich was able to ensure high artistic presentation of performances, as well as create a professional orchestra. Particular attention was paid to the composition of the troupe recruited from the serfs belonging to him.
Gathering artists from among the most gifted peasants, the count spared no effort and money to teach them stage skills. Professional actors of the Imperial Petrovsky Theater were written out as teachers. In addition, Count Nikolai Petrovich Sheremetev sent newly-minted actors to study at his own expense not only in Moscow, but also in St. Petersburg, where, in addition to the main disciplines, they studied foreign languages, literature and versification.
As a result, the performances of the Kuskovo Theater, which opened in 1787, brought together the whole aristocratic Moscow, as well as guests from the capital, including members of the reigning family. The popularity of his troupe was so great that the owners of other private Moscow theaters complained to the mayor that, for the sake of his amusement, the count - a man already fabulously rich - beats them off and deprives them of income. Meanwhile, for Nikolai Petrovich, serving Melpomene was never fun. Now the theater has become the main business of his life.
Count's architectural heritage
Another hobby of Count Sheremetev was architecture. With sufficient funds, in two decades he built many structures recognized as true masterpieces of Russian architecture. Among them are the theater and palace complexes in Ostankino and Kuskovo, houses in Gatchina and Pavlovsk, the Hospice House in Moscow (photo above), the Fountain House in St. Petersburg and a number of other structures, including several Orthodox churches.
The period of royal favors
A sharp turn in the count’s life came in 1796, when after the death of Catherine II, her son Pavel took the Russian throne. Feeling sincere affection for Sheremetev, as a friend of his childhood, he was one of his first decrees to grant him the rank of chief marshal and introduced him, thus, to the number of the most influential state dignitaries.
From then on, orders, titles, privileges, gift estates, and other royal mercies rained down upon him one after another. Since 1799 he was the director of the imperial theaters, and after some time - the chief of the Page Corps. However, in these years he tried to achieve a completely different thing from the emperor Sheremetev, and just about this will go a further story.
Love for the serf actress
The fact is that by the age of 45, Count Sheremetev Nikolai Petrovich was not married. Possessing a colossal fortune, which made him richer than the emperor himself, and excellent appearance, the count was the most enviable groom in Russia, about whom many brides from the highest layers of society dreamed of a marriage.
However, the Count’s heart was firmly occupied by the serf actress of his theater Praskovya Zhemchugova. Possessing amazing natural beauty and a wonderful voice, she nevertheless remained in the eyes of society only a serf girl - the daughter of a rural blacksmith.
Once in childhood, the count noticed this vocal girl and, giving her a decent upbringing, made him a first-class actress, whose talent was applauded tirelessly by the most demanding spectators. Her real name is Kovaleva, while the earl himself made Zhemchugova, considering such a stage name more sonorous.
Obstacles to marriage
However, existing traditions did not allow them to legalize relations. From the point of view of the aristocracy, it is one thing to enjoy the singing of a serf actress, and quite another to allow her to enter the high society, recognizing her equal. An important role was played by the protests of the count's numerous relatives, who saw in Praskovye a pretender to an inheritance. It is interesting to note that in that era people of the acting profession generally had such a low status that it was even forbidden to bury them in the church fence.
Of course, in such an environment, marriage was impossible. The only way out of this situation could be given with the highest permission, with the request of which Sheremetev personally addressed the emperor, hoping that Paul I would make an exception for him from the general rule. However, even the memory of children's friendship did not force the autocrat to violate the order that has been established for centuries.
A welcome but short marriage
Only after the assassination of conspirators Paul I the count was able to carry out his plan by forging the documents of his bride, as a result of which Praskovya Zhemchugova began to appear as the Polish noblewoman Paraskeva Kovalevskaya. Alexander I, who succeeded his father on the throne, gave Sheremetev consent to marriage, but even in this case the wedding was secret, which took place on November 8, 1801 in one of the small Moscow churches.
In 1803, a son was born in the Sheremetev family, who received the name of Dmitry in holy baptism. However, the joy of his father soon turned into sorrow: twelve days after the birth of the child, his wife Praskovia died, and was unable to recover from childbirth.
Construction of a Hospice
For a long time in Orthodox Russia there was such a custom: when a loved one died, to calm his soul to spend money on charitable deeds. Voluntary donations could be different - it all depended on material capabilities. Sheremetev, in memory of his deceased wife, built in Moscow an Acceptable House, in the premises of which today is located the Research Institute of Emergency Medicine. Sklifosovsky (photo No. 4).
The construction of this well-known Muscovite building was carried out under the supervision of a prominent architect of Italian descent, Giacomo Quarenghi, who was a passionate admirer of the late actress. Created exclusively for the poor and destitute, the Odd House was designed to contain 50 patients who received inpatient treatment, as well as 100 "mummified", that is, the poor, who had no means of livelihood. In addition, there was a shelter for 25 orphans.
In order to secure financing for this institution, the Count deposited sufficient capital for those times in his bank, and also wrote down several villages with serf souls for the maintenance of the Host Country. In addition to direct expenses, from these funds, according to the will of the count, it was necessary to help families in distress and annually allocate certain amounts for a dowry for poor brides.
End of Count's Life
Nikolai Petrovich died on January 1, 1809, having survived his wife only six years. He spent the last years of his life in his Petersburg palace, known as the Fountain House (photo, final article). His ashes, resting in the Sheremetevskaya tomb of the Alexander Nevsky Lavra, were buried in a simple plank coffin, since the count bequeathed to all the money allocated for the funeral to the poor.