Interior of the second half of the 19th century. S. Devyatova. Peculiarities of “home life” and residential interiors of manor houses of the late 18th - early 19th centuries. Examples of grand chandeliers suitable for Empire style interiors

Interiors 1800-1830s
At the beginning of the 19th century, the typical dwelling of the nobility was a manor house or city mansion. As a rule, a large family and numerous servants lived here. The state rooms were usually located on the second floor and consisted of a suite of living rooms, a boudoir and a bedroom. The living quarters were located on the third floor or mezzanines and had low ceilings. The servants lived on the ground floor, and there were also service rooms. If the house was two-story, then the living rooms, as a rule, were on the ground floor and ran parallel to the office premises.
Late 18th - early 19th centuries - the time of the domination of classicism, which presupposes a clear rhythm and a uniform style of placement of pieces of furniture and art. Furniture was usually made of mahogany and decorated with chased gilded bronze or brass strips. Interest in antiquity penetrated into Russia from France and other European countries. Therefore, in the interior of this time, we will see antique statues and the corresponding decor. Under the influence of Napoleon, the Empire style, created by architects C. Percier and P. Fontaine, with its spirit of luxurious imperial residences from the time of the Roman Empire, came into vogue. Empire-style furniture was made of Karelian birch and poplar, often painted green - like old bronze, with gilded carved details. Clocks and lamps were made of gilded bronze. The walls of the rooms were often painted in pure colors - green, gray, blue, lilac. Sometimes they were pasted over with paper wallpaper or imitated paper wallpaper, smooth or striped, with an ornament.

The suite of rooms in the exhibition opens Valet(late 18th - early 19th centuries). A valet on duty could be in such a room. Mahogany furniture with brass overlays is made in the jacob style.

Russian residential interior of the 19th-early 20th centuries Valet
Sample for Portrait(1805-1810s) was the corresponding room in the estate of Count A.A. Arakcheev in Gruzino. Unfortunately, the estate itself was completely destroyed during the Great Patriotic War. The portrait room is decorated in the early Russian Empire style, the walls are painted with striped wallpaper.

Russian residential interior of the 19th-early 20th centuries Portrait, 1805-1810s
Cabinet(1810s) was an obligatory attribute of a noble estate. In the interior presented in the exposition, the furniture set is made of Karelian birch, the desk and armchair are made of poplar wood. The painting of the walls imitates paper wallpapers.

Russian residential interior of the 19th-early 20th centuries Cabinet, 1810s
Canteen(1810-1820s) - also made in the Empire style.

Russian residential interior of the 19th-early 20th centuries Dining room, 1810-1820s
Bedroom(1820s) is functionally divided into zones: the bedroom itself and the boudoir. There is an icon case in the corner. The bed is covered with a screen. In the boudoir, the hostess could go about her business - do needlework, carry on correspondence.

Russian residential interior of the 19th-early 20th centuries Bedroom, 1820s
Boudoir(1820s) was located next to the bedroom. If conditions allowed, it was a separate room in which the mistress of the house went about her business.

Russian residential interior of the 19th-early 20th centuries Boudoir, 1820s
The prototype Living room(1830s) served as the living room of P.V. Nashchekin, a friend of A.S. Pushkin, from a painting by N. Podklyushnikov.

Russian residential interior of the 19th-early 20th centuries Living room, 1830s
Young man's office(1830s) was created based on Pushkin's "Eugene Onegin" (it is interesting to compare it with the Trigorskoye estate, which became the prototype of the Larins' house from this novel). Here you can see the desire for convenience and comfort, decorative fabrics are actively used. The laconicism inherent in the Empire style gradually disappears.

Russian residential interior of the 19th-early 20th centuries
Young man's study, 1830s

Interiors 1840-1860s

40s - 60s of the XIX century - the time of the dominance of romanticism. At this time, historicism is popular: pseudo-Gothic, second rococo, neo-Greek, Moorish, and later pseudo-Russian styles. In general, historicism prevailed until the end of the 19th century. The interiors of this time are characterized by a desire for luxury. The rooms have an abundance of pieces of furniture, ornaments and knickknacks. Furniture was mainly made of walnut, rosewood, and sacchardan wood. The windows and doors were covered with heavy draperies, tables were covered with tablecloths. Oriental carpets were laid on the floors.
At this time, W. Scott's knightly novels became popular. In many ways, under their influence, estates and dachas are being built in the Gothic style (I have already written about one of them - Marfino). The houses also had Gothic offices and living rooms. Gothic was expressed in stained-glass windows on windows, screens, screens, in decorative elements of decoration of rooms. Bronze was actively used for decoration.
Late 40s-early 50s The 19th century was marked by the emergence of the "second rococo", otherwise called "a la Pompadour". It was expressed in the imitation of the art of France in the middle of the 18th century. Many estates were built in the Rococo style (for example, the now dying Nikolo-Prozorovo near Moscow). The furniture was made in the style of Louis XV: rosewood headsets with bronze decorations, porcelain inserts painted in the form of bouquets of flowers and gallant scenes. Overall, the room was like a precious box. This was especially true for the premises of the female half. The rooms on the male side were more laconic, but also not devoid of grace. They were often decorated in "oriental" and "Moorish" style. Ottoman sofas came into fashion, the walls were decorated with weapons, Persian or Turkish carpets lay on the floors. Hookahs and smokers could also be in the room. The owner of the house wore a dressing gown.
An example of the above is Living room(1840s). Furniture in it

Russian residential interior of the 19th-early 20th centuries Living room, 1840s

The next room is Yellow living room(1840s). The set presented in it was made for one of the living rooms of the Winter Palace in St. Petersburg, presumably according to the drawings of the architect A. Brullov.

Russian residential interior of the 19th-early 20th centuries The Yellow Drawing Room, 1840s

Dressing a young girl(1840-1850s) made in the style of "walnut rococo". Such a room could be both in the capital's mansion and in the provincial estate.

Russian residential interior of the 19th-early 20th centuries Dressing room of a young girl, 1840-50s

V Cabinet-boudoir(1850s) In the style of the second rococo, expensive furniture a la Pompadour, veneered with rosewood, with inserts of gilded bronze and painted porcelain, is presented.

Russian residential interior of the 19th-early 20th centuries A boudoir cabinet, 1850s

Bedroom of a young girl(1850-1860s) strikes with its splendor, it is also an example of the "second rococo".

Russian residential interior of the 19th-early 20th centuries Bedroom of a young girl, 1850s-60s

Interiors 1870-1900s

This period is characterized by the smoothing out of the differences between the noble and bourgeois interiors. Many old noble families gradually grew poorer, yielding influence to industrialists, financiers, people of mental labor. Interior decoration during this period begins to be determined by the financial capabilities and taste of the owner. Technological progress and industrial development have contributed to the emergence of new materials. So, machine lace appeared, the windows were decorated with tulle curtains. At this time, sofas of new shapes appear: round, double-sided, combined with whatnots, shelves, jardinieres, etc. Upholstered furniture appears.

In the 1870s, under the influence of the 1867 World Exhibition in Paris, the style of Louis XVI came into fashion. The boule style, named after A.Sh.Boul, who worked under Louis XIV, is experiencing a rebirth - the furniture was decorated with a turtle, mother-of-pearl, and bronze. Rooms from this period are decorated with porcelain from Russian and European factories. Numerous walnut-framed photographs adorned the walls.
The main type of dwelling is an apartment in a tenement building. Its design was often characterized by a mixture of styles, a combination of incompatible things only in terms of the generality of color, texture, etc. In general, the interior of this time (as well as architecture in general) was eclectic in nature. The rooms were sometimes more like an exhibition hall than a living space.
The pseudo-Russian style comes into fashion. In many respects this was facilitated by the architectural magazine "Zodchiy". Country cottages were often built in this style (for example, near Moscow

The other day I managed to visit an incredibly "tasty" ( for both gourmet and photographer) place - the manor house of the manufacturer Dumnov in the village of Zarechye, Vladimir region.

The house of the manufacturer is at the same time a museum of weaving, a demonstrative merchant estate of the late 19th century, and a hotel. The reconstructed interiors of a rich merchant house with antiques are quite impressive ...

Since we came to the estate more on museum business, we did not really manage to immerse ourselves in the most interesting history of this place.

Therefore, we will give a description of it from a third-party resource (strana.ru), decorating the text with our photographs: "The mansion of the manufacturer I. Dumnov in the village of Zarechye stands out sharply against the general unpretentious background: a neat two-story house with beautiful platbands and a strong fence. a wonderful garden visible from the street, gazebos, a real Russian bath, a well-groomed country estate in the very center of the village.

This splendor is not so long ago - at the end of the 20th century, the century-old house was not much different from other abandoned houses left without owners. The Dumnovs' estate was taken away in the wake of dispossession, almost the entire family was imprisoned and exiled, and a village school was placed in the house, which was closed in the nineties.

Already in the new era, the granddaughter of the last of the Dumnovs, Galina Maslennikova, returned to the District. She managed to buy out the ancestral house and a piece of land under it. The goal was formulated immediately: not just to equip a place to live, but to open a museum in the District.

With the help of sponsors and with the assistance of the Vladimir-Suzdal Museum, the Maslennikov family managed to put the estate in order, recreate the old interiors, lay out a garden and assemble a collection of exhibits dedicated to the unique craft for which the village of Zarechye was famous.

The fact is that before the historic victory of the proletariat, the Dumnovs' factory produced silk, silk velvet and plush, and in the village, in almost every house there were spinning wheels and looms. Everyone weaved - men, women, old people and children.

After the revolution, it turned out that luxurious thin materials were alien to the people, and the production was retrained for artificial plush and lining fabrics. The craft was almost dead, if not for the enthusiasm of the Dumnovs' heiress, which was supported by residents of Zarechye.

They willingly donated antiques for the museum collection - in almost every house in the attic there was some kind of historical object, like grandmother's spinning wheel, parts of weaving machines, and various old utensils. They found something in other villages, bought from antique dealers. Today the museum is rightfully proud of, for example, the presence of a hand loom, which is extremely rare in the world's museums of a similar profile. The entire process of creating the fabric, all the necessary devices for this, are carefully collected and restored.

The exposition is housed in two houses next to the main house of the Dumnovs. A typical peasant hut turned into a small museum "House of the Rural Weaver", and a copy of an old private factory, which was called a light house, was built nearby: this is a two-story hut, only with many windows to make it brighter.

It is interesting that each window does not consist of the usual two or four glasses, but of a large number of small cells. This is explained by reasonable economy: the spindle often broke off, flew out the window, and in order not to change the expensive glass every time entirely, they were prudently divided into fragments.

A valet on duty could be in such a room. Mahogany furniture with brass overlays is made in the jacob style.

Sample for Portrait(1805-1810s) was the corresponding room in the estate of Count A.A. Arakcheev in Gruzino. Unfortunately, the estate itself was completely destroyed during the Great Patriotic War. The portrait room is decorated in the early Russian Empire style, the walls are painted with striped wallpaper.

Cabinet(1810s) was an obligatory attribute of a noble estate. In the interior presented in the exposition, the furniture set is made of Karelian birch, the desk and armchair are made of poplar wood. The painting of the walls imitates paper wallpapers.

Canteen(1810-1820s) - also made in the Empire style.

Bedroom(1820s) is functionally divided into zones: the bedroom itself and the boudoir. There is an icon case in the corner. The bed is covered with a screen. In the boudoir, the hostess could go about her business - do needlework, carry on correspondence.

Boudoir(1820s) was located next to the bedroom. If conditions allowed, it was a separate room in which the mistress of the house went about her business.

The prototype Living room(1830s) served as the living room of P.V. Nashchekin, a friend of A.S. Pushkin, from a painting by N. Podklyushnikov.

The young man's study (1830s) was created based on Pushkin's "Eugene Onegin" (it is interesting to compare it with the Trigorskoye estate, which became the prototype of the Larins' house from this novel). Here you can see the desire for convenience and comfort, decorative fabrics are actively used. The laconicism inherent in the Empire style gradually disappears.

INTERIORS 1840-1860s

At this time, W. Scott's knightly novels became popular. In many ways, under their influence, estates and dachas are being built in the Gothic style (I have already written about one of them - Marfino). The houses also had Gothic offices and living rooms. Gothic was expressed in stained-glass windows on windows, screens, screens, in decorative elements of decoration of rooms. Bronze was actively used for decoration.

Late 40s-early 50s The 19th century was marked by the emergence of the "second rococo", otherwise called "a la Pompadour". It was expressed in the imitation of the art of France in the middle of the 18th century. Many estates were built in the Rococo style (for example, the now dying Nikolo-Prozorovo near Moscow). The furniture was made in the style of Louis XV: rosewood headsets with bronze decorations, porcelain inserts painted in the form of bouquets of flowers and gallant scenes. Overall, the room was like a precious box. This was especially true for the premises of the female half. The rooms on the male side were more laconic, but also not devoid of grace. They were often decorated in "oriental" and "Moorish" style. Ottoman sofas came into fashion, the walls were decorated with weapons, Persian or Turkish carpets lay on the floors. Hookahs and smokers could also be in the room. The owner of the house wore a dressing gown.

An example of the above is Living room(1840s). The furniture in it is made of walnut, and Gothic motifs can be traced in the decorative finish.

Dressing a young girl(1840-1850s) made in the style of "walnut rococo". Such a room could be both in the capital's mansion and in the provincial estate.

V Cabinet-boudoir(1850s) In the style of the second rococo, expensive furniture a la Pompadour, veneered with rosewood, with inserts of gilded bronze and painted porcelain, is presented.

Bedroom of a young girl(1850-1860s) strikes with its splendor, it is also an example of the "second rococo".

INTERIORS 1870-1900s

In the 1870s, under the influence of the World Exhibition in Paris in 1867, the style of Louis XVI came into fashion. The boule style, named after A.Sh.Boul, who worked under Louis XIV, is experiencing a rebirth - the furniture was decorated with a turtle, mother-of-pearl, and bronze. Rooms from this period are decorated with porcelain from Russian and European factories. The walls were decorated with numerous walnut-framed photographs.

The main type of dwelling is an apartment in a tenement building. Its design was often characterized by a mixture of styles, a combination of incompatible things only in terms of the generality of color, texture, etc. In general, the interior of this time (as well as architecture in general) was eclectic in nature. The rooms were sometimes more like an exhibition hall than a living space.

The pseudo-Russian style comes into fashion. In many respects this was facilitated by the architectural magazine "Zodchiy". Country cottages were often built in this style (for example, Abramtsevo near Moscow). If the family lived in an apartment, one of the rooms, usually a dining room, could be decorated in the pseudo-Russian style. The walls and ceiling were sheathed with beech or oak panels, covered with carvings. There was often a massive sideboard in the dining room. The decorative design used motives of peasant embroidery.

At the end of the 1890s, the Art Nouveau style emerged (from the French moderne - modern), which was expressed in the rejection of imitation, straight lines and angles. Modern is smooth curved natural lines, new technologies. The Art Nouveau interior is distinguished by the unity of style, careful selection of items.

Raspberry living room(1860-1870s) strikes with its splendor and luxury of the Louis XVI style, combined with the desire for convenience and comfort.

Cabinet(1880s) is eclectic. Here are collected various, often incompatible items. A similar interior could be in the house of a prestigious lawyer or financier.

Canteen(1880-1890s) is made in the Russian style.

Maple living room(1900s) - a fine example of the Art Nouveau style.

Thus, the entire 19th century passed before our eyes: from the Empire style with its imitation of ancient culture at the beginning of the century, through the fascination with the styles of historicism in the middle of the century, eclecticism of the second half of the century and the unique, unlike anything else at the turn of the 19th and 20th centuries.

Maria Anashina

The beginning of the 19th century is characterized by the emergence in France of an architectural and interior trend called the Empire style. The so-called imperial style is distinguished by luxury and solemnity, designed to emphasize the greatness of the Emperor Napoleon. The organic combination of Roman antiquity, Egyptian motifs, the architectural monumentality of the interiors, the abundance of gilding and bright colors in the decoration allowed the French Empire to exist for a fairly long historical period and, with some changes, was taken over by both the Russian imperial court and bourgeois Germany. The 19th century allows you to plunge into the atmosphere of grandeur and luxury of ballrooms, living rooms, boudoirs of that time.

Characteristic features of the style

Empire style as an architectural and interior style originated in the early 19th century with the light hand of Napoleon Bonaparte. It was intended to emphasize the greatness of the emperor, combining solemnity, luxury and severity.

The Empire style is based on Roman antiquity with its monumental arches, columns, caryatids. The architecture and interiors of the 19th century in the imperial style are distinguished by monumentality, integrity and symmetry.

Mahogany, marble, bronze and gilding were used in the decoration. The walls were decorated with paintings of antique scenes and bas-reliefs. Plaster stucco was used on the ceiling.

The interiors of the 19th century in the Empire style are designed in rich colors: blue, red, green, turquoise, white. They go well with an abundance of gilding and ornate decor. Pastel shades were often used: milky, beige, lavender, pale blue, pistachio, mint.

The decoration was complemented by monumental mahogany furniture with decorative bronze or gilded carvings. Animal motifs in furniture were popular: legs in the form of paws, armrests with lion heads. provoked a fashion for authentic paraphernalia, which later influenced the French Empire style, organically merging into the interior along with antique motifs. The military theme was no less popular: paintings with scenes of battles, weapons.

Walls

The walls in the interior of the 19th century of the imperial style were painted with antique subjects and exotic landscapes. Bas-reliefs were not uncommon. Wallpaper was rarely used, mainly with a pattern in the form of monograms or strict stripes. In bedrooms and boudoirs, the walls were draped with textiles decorated with acanthus in the Roman style. The color scheme was dominated by bright shades: red, blue, green, and also white. They are wonderfully combined with an abundance of gilding, emphasizing the majesty and identity of the setting.

A characteristic feature of the Empire style is the stucco molding in the decoration of the walls. The columns were made of marble, malachite and other ornamental stones, the stucco molding was covered with gilding. Huge mirrors are an integral part of the 19th century interior. They were actively used in decoration, complementing them with ornate gilded frames.

Ceiling

The ceilings in Empire style interiors are always high, domed or straight. The main color is white. Decorated the ceiling with painting, as well as grisaille. It is difficult to imagine the interior of the 19th century in the imperial style without stucco molding. Plaster rosettes, cornices, moldings and other decorations were used everywhere. Often the stucco was covered with gilding. The strict centralization of the composition and symmetry, characteristic of the Roman style, can be clearly seen in the Empire style as well. The center of the ceiling was necessarily decorated with patterns and complemented by a magnificent pendant chandelier. Gilding and crystal harmoniously emphasized the solemn

Imperial-style lighting plays an important role. With a large area of \ u200b \ u200bthe room, several large symmetrically located chandeliers were often installed. In addition to them, there were wall and table candelabra in the room. Numerous lights, reflected in mirrors and gilding, created a unique atmosphere of solemnity and grandeur.

Furniture

In the interior, the furniture was monumental, like a work of architectural art. Used exclusively architectural elements such as columns, cornices, caryatids. Tabletops were often made from a single piece of marble or malachite. Sofas, armchairs, couches were smooth ergonomic shapes.

Mahogany was widely used. The furniture was decorated with bronze overlays, gilded carvings, legs and armrests stylized as animals. Animal motifs are clearly traced in the imperial style: heads and paws of lions, eagle wings, snakes. Mythical creatures were also popular: griffins, sphinxes. The upholstery of couches, chairs, armchairs in the French Empire style is predominantly monochromatic, made in marble or leather. The interiors now have round tables on one leg, sideboards for dishes and fashionable knick-knacks, a secretaire with a shelf for books.

Decor

The decor of the 19th century is dominated by antique Roman and Egyptian motives - columns, friezes, pilasters, ornament with acanthus leaves, sphinxes, pyramids. The era of the Napoleonic wars could not but affect the interior. Images of weapons were widely used: sabers, shields, arrows, cannons, and cannonballs. Decorators of that time could not ignore the laurel wreath as a symbol of greatness. It is found everywhere.

The interior is replete with plaster statues, paintings and huge mirrors in massive gilded frames. Intricate draperies on the windows and walls are a characteristic feature of the Empire style. The beds were decorated with canopies. All decor in the interior of the imperial style is carefully verified, and the same images can be found in the decor of furniture, walls, accessories and even books.

Russian Empire

The Russian interior of the 19th century took a lot from the French Empire style, reworking and softening. Instead of mahogany and bronze overlays on furniture, Karelian birch, ash, maple were used. The furniture was decorated with gilded carvings. The creatures of Egyptian mythology were successfully replaced by Slavic ones. Unlike the French Empire style, which elevates primarily the personality of the emperor, the Russian paid more attention to the greatness of state power. The marble was replaced with Ural malachite, lapis lazuli and other ornamental stones.

The Russian Empire style gradually split into two directions: metropolitan and provincial. Metropolitan was more like French, but it was softer and more plastic. An undoubted contribution to the development of the style was made by the Italian Carl Rossi. The provincial version of the Russian Empire style was even more restrained, close to classicism.

Empire style is a bright and majestic style in architecture and interior of the 19th century. The splendor and identity of the interiors was intended to emphasize the greatness of the emperor. The characteristic features of the imperial style are a centered composition, bright colors, an abundance of gilding, stucco molding, huge mirrors, antique, Egyptian, animal and military motives.

There are possibilities of using the 19th century style in modern interior design. Designers can bring such a project to life using modern materials and stylized objects. The luxurious Empire style can decorate any apartment, if there is a desire and opportunity.

What is the Russian style in the interior of an apartment and what was the everyday life of a Russian estate? Small rooms, and not at all ballrooms and ceremonial living rooms that opened only on occasion, assorted furniture, paintings that have more family rather than artistic value, everyday porcelain.

Fragment of the dining room. Custom made curtain fabric, Colefax & Fowler, plaid edging, Manuel Canovas. Painted screen, early 20th century, France. Chairs upholstered in fabric, Brunschwig & Fils. Vintage decorative pillows hand-painted on silk.

Even members of the imperial family in their personal lives tried to surround themselves with ordinary comfort - just look at the photos of the personal apartments of Alexander III in the Gatchina Palace or Nicholas II in the Alexander Palace of Tsarskoye Selo ...

Canteen. The fireplace portal of green marble was made according to the sketches of Kirill Istomin. Wool carpet, Russia, late 19th century. Antique chandelier, France, 19th century. Chinese-style carved dining table and chairs with leather upholstery, England, 20th century. Fabric covers, Cowtan & Tout. On the table is a tablecloth of antique lace from the collection of the owners of the house. Porcelain service, France, early XX century. On the wall is a collection of antique French, German and Russian porcelain.

Decorator Kirill Istomin was thinking about such interiors when the customers asked him to create a manor house interior in the Russian style without any claims to historical accuracy.

Kirill Istomin

“We started to invent a legend on the go,” says Kirill. - From the first days of work on the project, together with the owners, we began to look for completely different furnishings - as they say, in reserve.

Fragment of the cabinet. The sofa is made to order according to the sketches of Kirill Istomin; upholstery, Clarence House. On the wall there are icons of the owners of the house.

Main living room. Tapestry, France, 18th century. Vintage English armchair, upholstered, Cowtan & Tout. The table lamps are made from antique Chinese vases. Red lacquered coffee table with gold painting in chinoiserie style, vintage. The furniture and the sofa are made to order according to the sketches of the decorator, fabric, Cowtan & Tout. Writing desk with leather top and drawers, England, 20th century, next to it is a vintage rattan armchair. Round table with marble top, Russia, 19th century.

The rebuilding of the house began with this tapestry - there was simply not enough space for it in the old living room. The new annex, adjoining the living room, is equal in area to the first floor of the house.

Hallway. Wallpaper, Stark. Carved wooden gilded chandelier, Italy, XX century. Mirror, England, 19th century. Chest of drawers and sconces, vintage. Chair covers in fabric, Lee Jofa.

Square in plan, it is divided in half into two rooms: a dining room and a new living room, on one of the walls of which there is a tapestry.

Kitchen. Fabric bandeau, Lee Jofa. Chair covers, Schumacher fabric. Chandelier, dining table and chairs, Russia, 1900s.

“I understand what the architects thought when we ordered them to lay out the rooms, taking into account the placement of existing furnishings,” Kirill smiles. "But I always have a humor about the confrontation between decorators and architects."

Fragment of the kitchen. The table top and backsplash are made of granite.

Intentionally simple finishes - wooden floors and painted walls - are compensated for in the rooms by the height of the ceilings. In the old house, they are about one and a half meters lower.

Guest bathroom. Floral wallpaper, Cowtan & Tout. Linen skirt, Clarence House. Mirror above the base in a painted carved wooden frame, Italy, early 20th century.

However, even this does not make the premises look like ceremonial halls - the same living rooms, as if descended from pre-revolutionary photographs. It's just difficult to say in which country these photos could have been taken: in the dining room, the combination of porcelain plates hung on the celadon walls and the floral designs of the curtains are reminiscent of the English estates of the Victorian era, while the setting of the small living room with historical wallpaper depicting flower garlands and the boiling white lace ruffles of crimson curtains echoing them remind of the Russian style in the interior, a merchant's mansion somewhere on the Volga.

Detail of the master bedroom. English vintage lacquered secretaire with gilded painting in Chinese style.

Almost kitsch, but hot tea with jam has already done its job, and you do not want to think about anything, covered with a downy shawl and listening to the lulling purr of a cat. “Of course, this is a completely invented interior, and you are unlikely to find historical parallels here.

Small living room. Vintage French bronze sconces were purchased in St. Petersburg. The backs of antique gilded armchairs are covered with antique lace from the owners' collection. Vintage fringed sofa in original crimson upholstery. Hand-printed wallpapers based on archival originals are made to order. Silk curtains, Lee Jofa. Wooden shelves are made according to the sketches of the decorator.

Rather, it brings back memories of how you imagined a bygone era when you read the classics, says the decorator. - There are many incongruous things in the house, but such “imperfection” makes my work invisible.