Natasha's Dance полностью

inventory of his wardrobe in 1806 reveals that he possessed no less than thirty-seven different types of court uniform, all sewn with gold thread and all in the dark green or dark brown cashmere or tricot colours that were fashionable at that time. There were 10 sets of single-breasted tails and 18 double-breasted; 54 frock coats; 2 white fur coats, one made of polar bear, the other of white wolf; 6 brown fur coats; 17 woollen jackets; 119 pairs of trousers (53 white, 48 black); 14 silk nightgowns; 2 dominoes made of pink taffeta for masquerades; two Venetian outfits of black taffeta lined with blue and black satin; 39 French silk kaftans embroidered in gold and silver thread; 8 velvet kaftans (one in lilac with yellow spots); 63 waistcoats; 42 neck scarves; 82 pairs of gloves; 23 tricorn hats; 9 pairs of boots; and over 60 pairs of shoes.⁴⁴

Entertaining was a costly business, too. The Sheremetev household was itself a minor court. The two main Moscow houses - Ostankino and the Kuskovo estate - were famous for their lavish entertainments, with concerts, operas, fireworks and balls for several thousand guests. There was no limit to the Sheremetevs' hospitality. At the Fountain House, where the Russian noble custom of opening one's doors at mealtimes was observed with unstinting generosity, there were often fifty lunch and dinner guests. The writer Ivan Krylov, who dined there frequently, recalled that there was one guest who had eaten there for years without anybody ever knowing who he was. The phrase 'on the Sheremetev account' entered into the language meaning 'free of charge'.⁴⁵

Nearly everything in the Sheremetev household was imported from Europe. Even basic items found abundantly in Russia (oak wood, paper, grain, mushrooms, cheese and butter) were preferable, though more expensive, if from abroad. Information about Peter Sheremetev's foreign purchases between 1770 and 1788 has been preserved in the archives. He bought from foreign merchants in St Petersburg, or through agents especially commissioned to import goods for him. Clothes, jewels and fabrics came directly from Paris, usually from the tailor to Versailles; wines came from Bordeaux. Chocolate, tobacco, groceries, coffee, sweets and dairy products came from Amsterdam; beer, dogs and carriages from England. Here is one of Sheremetev's shopping lists:

kaftan of downy material

camisole sewn with gold and pearls

kaftan and trousers made of silk in puce plus yellow camisole

kaftan made of red cotton with blue on both sides

blue silk camisole sewn with gold

kaftan and trousers in fabric with camisole in raspberry silk sewn

with gold and silver kaftan and trousers in chocolate colour with green velour camisole black velvet frock coat tails in black velvet with speckles tails with 24 silver buttons 2 pique camisoles sewn with gold and silver 7 arshins* of French silk for camisoles 24 pairs of lace cuffs for nightshirts

12 arshins of black material for trousers and 3 arsbins of black velvet various ribbons

150 pounds of superior tobacco 60 pounds of ordinary tobacco 36 tins of pomade 6 dozen bottles of capillary syrup golden snuffbox 2 barrels of lentils 2 pounds of vanilla 60 pounds of truffles in oil 200 pounds of Italian macaroni 240 pounds of parmesan 150 bottles of anchovies 12 pounds of coffee from Martinique 24 pounds of black pepper 20 pounds of white pepper 6 pounds of cardamom 80 pounds of raisins 160 pounds of currants 12 bottles of English dry mustard various kinds of ham and bacon, sausages

* One arshin is 71 centimetres.

moulds for blancmange

600 bottles of white burgundy

600 bottles of red burgundy

200 bottles of sparkling champagne

100 bottles of non-sparkling champagne

100 bottles of pink champagne.⁴⁶

If Boris Sheremetev was the last of the old boyars, his son Pyotr was perhaps the first, and certainly the grandest, of Russia's European gentlemen. Nothing demonstrated more clearly that a nobleman had made the transition from Muscovite boyar to Russian aristocrat than the construction of a palace in the European style. Under its grand roof the palace brought together all the European arts. With its salon and its ballroom, it was like a theatre for members of the aristocracy to play out their airs and graces and European ways. But it was not just a building or a social space. The palace was conceived as a civilizing force. It was an oasis of European culture in the desert of the Russian peasant soil, and its architecture, its paintings and its books, its serf orchestras and operas, its landscaped parks and model farms, were meant to serve as a means of public enlightenment. In this sense the palace was a reflection of Petersburg itself.