live, how to build their houses, how to move around the town, where to stand in church, how many servants to keep, how to eat at banquets, how to dress and cut their hair, how to conduct themselves at court, and how to converse in polite society. Nothing in his dragooned capital was left to chance. This obsessive regulation gave St Petersburg the image of a hostile and oppressive place. Here were the roots of the nineteenth-century myth of the 'unreal city' - alien and threatening to the Russian way of life - which was to play a central role in Russian literature and art. 'In Petersburg', wrote Benois, 'there is that same Roman spirit, a hard and absolute spirit of order, a spirit of formally perfect life, unbearable for the general Russian slovenliness, but unquestionably not without charm.' Benois compared the city to a 'sergeant with a stick' - it had a 'machine-like character' - whereas the Russians were like a 'dishevelled old woman'.20 The nineteenth-century image of the Imperial city was defined by the notion of its regimentation. De Custine remarked that Petersburg was more like 'the general staff of an army than the capital of a nation'.21 And Herzen said that its uniformity reminded him of a 'military barracks'.22 This was a city of inhuman proportions, a city ordered by the abstract symmetry of its architectural shapes rather than by the lives of its inhabitants. Indeed, the very purpose of these shapes was to regiment the Russians, like soldiers, into line.
Yet underneath the surface of this European dream world the old Russia still showed through. Badgered by the Tsar to build classical facades, many of the nobles allowed animals to roam in the courtyards of their palaces in Petersburg, just as they did in their Moscow yards, so that Peter had to issue numerous decrees forbidding cows and pigs from wandering on to his fine European avenues.23 But even the Nevsky, the most European of his avenues, was undone by a 'Russian' crookedness. Designed as a formal 'prospekt' running in a straight line from the Admiralty, at one end, to the Alexander Nevsky monastery, three kilometres away at the other, it was built by separate crews from either end. But they failed to keep the line and when it was completed in 1715 there was a distinct kink where the two teams met.24
The Sheremetev palace on the Fontanka river is a legendary symbol of the Petersburg tradition. The people of that city call it 'Fountain House'. The poet Anna Akhmatova, who lived there, on and off, in an annexe flat from 1926 to 1952, thought of it as a precious inner space which she co-inhabited with the spirits of the great artistic figures of the past. Pushkin, Krylov, Tiutchev and Zhukovsky - they had all been there.
I don't have special claims
On this illustrious house,
But it happens that almost my whole life
I have lived under the celebrated roof
Of the Fountain Palace… As a pauper
I arrived and as a pauper I will leave…25
The history of the palace is a microcosm of the Petrine plan to set down Western culture on Russian soil. It was built on a plot of marshland granted in 1712 by the Tsar to Boris Sheremetev, the Field Marshal of Peter's army at the battle of Poltava. At that time the site was on the edge of Petersburg and its forests gave the palace a rural character. Peter's gift was one of several to distinguished servitors. They were ordered to construct European-style palaces with regular facades on the Fontanka side as part of the Tsar's plan to develop Petersburg. Legend has it that the land was empty in 1712. But Akhmatova believed that a Swedish farmstead had been there, since she distinguished oak trees from pre-Petrine times.26
By the beginning of the eighteenth century the Sheremetev family was already well established as a hugely wealthy clan with close connections to the court. Distantly related to the Romanovs, the Sheremetevs had been rewarded with enormous tracts of land for their loyal service to the ruling house as military commanders and diplomats. Boris Sheremetev was a long-standing ally of Peter's. In 1697 he had travelled with the Tsar on his first trip to Europe, where he remained as Russian ambassador to Poland, Italy and Austria. A
