Petr Karlovich Klodt biography. Peter Klodt, sculptor: biography and works. Incarnation in bronze

PETER from Goniendz (Peter Gezka, Gonesius) (between 1525 and 1530-1573) - theologian, writer, ideologist of the radical reformation in Belarus and Lithuania. Antitrinitarian. In 1551 he graduated from the University of Krakow, after which he was in Italy, Switzerland, Moravia. Acquainted with the ideas of M. Servet and Moravian

They say that in the cultural capital of Russia there are only about 800 bridges thrown over many rivers and streams, channels, lakes, ponds and artificial reservoirs. Each of them has its own story. But according to the number of frank facts, beautiful stories, legends, myths, folk tales and anecdotes, only a few dozen can be distinguished from all this huge number of bridges. Among them there is a small but very famous Anichkov bridge.

It is located at the intersection of Nevsky Prospekt with the Fontanka River. He is depicted in many paintings, postcards, engravings. Its main feature is the famous sculptures "Horse Tamers". This is the best work of the sculptor P. K. Klodt, which brought him worldwide fame. There are about 30 "horses" in St. Petersburg, and 11 of them are the work of the sculptor Klodt.

The bridge was named in honor of Lieutenant Colonel Mikhail Anichkov. It was his battalions who had the honor of erecting this structure on the orders of Peter I himself. But the inventors of St. Petersburg fell in love with the name "Anichk in bridge” – of course, no Anechka or Anya is mentioned in the structure’s pedigree, but it sounds no less beautiful and mysterious.

Over time, the bridge was rebuilt several times. During the years of the reconstruction of the Anichkov Bridge, the sculptor Pyotr Karlovich Klodt, who already headed the academic foundry at that time, worked on one of the projects for the decoration of the pier on the Neva embankment, opposite the Academy of Arts. Then they were going to decorate it with sculptural groups of horses led by young men - like those that make out the entrance to the Champs Elysees in Paris.

But plans have changed. Sphinxes were installed on the pier, brought to St. Petersburg from the ancient capital of Egypt, the city of Thebes, in the spring of 1832. The figures of sphinxes were carved in the XIII century BC. e. Their faces are portraits of Pharaoh Amenhotep III.

Klodt's horses seemed to be out of work. And the sculptor proposes to install his horses on the rebuilt Anichkov Bridge.

In the autumn of 1841, the first pair of horses was installed - on the western side of the bridge, from the side of the Anichkov Palace, and their plaster copies stood opposite.

Twice Klodt cast bronze compositions for the east side, and twice soon after installation they were removed from the pedestals to be presented to European monarchs.

The first copies in 1843 went to Berlin. It was an exchange of gifts between relatives: Friedrich Wilhelm IV, the brother of princesses Frederica-Louise-Charlotte, who became the wife of Nicholas I, Alexandra Feodorovna, entered the Prussian throne. Here they are - Klodt's horses in their original place at the royal castle in Berlin. Later they were moved to Kleist Park.

And in 1846, the horses were removed from the pedestal and presented to the King of the Two Sicilies, Ferdinand II of Bourbon. 30 years have been celebrated since the restoration of the kingdom of the two Sicilies; however, it was said that this was rather a sign of gratitude: shortly before this, the empress traveled to Italy to improve her health, and the Neapolitan tyrant gave her a luxurious reception. Here they are - the well-known bronze horses and young men of Klodt at the gates of the royal palace in Naples.

As a result, Klodt refuses to install spears on the eastern foundations of Anichkov's bridge and decides to create two new original compositions, in the development of the conceived plot "Taming the Horse". In 1850, this grandiose plan was fully completed.

The audience was delighted, Nicholas I was pleased.

During the ceremony on the occasion of the grand opening of the bridge, the emperor, who, as you know, was not distinguished by refinement of expressions, loudly declared with soldierly spontaneity, slapping the sculptor on the shoulder:

“You, Klodt, make horses better than a stallion,” such a dubious compliment to the proud Frenchman cost the emperor very dearly, but he will never know about it. Baron Peter Klodt turned out to be extremely vindictive ...

Years passed, and it was he, Klodt, who was entrusted with creating a statue of the emperor, already deceased by that time. Of course, the monument had to be equestrian. The maestro did an excellent job: his rider even surpassed the “copper”, because the horse under Nikolai rests on only two points of support! No one in the world could create such a thing before Klodt.

However, remembering the previous grievances, the sculptor nevertheless took revenge on the monarch: on the neck of Nicholas, he wrote Russian word of three letters, which everyone in Russia knows. This inscription is still alive today. Take my word for it - you don't need to climb the monument.

Probably, not only Klodt was annoyed by the deceased Nicholas I. The next day after the opening of the monument, a certain wit hung a board on the bend of the front right leg of the horse. It was written in bright paint: "You will not catch up." The inscription was understood by all Petersburgers: if it weren’t for the bulk of St. Isaac’s, Nikolai would have looked at the back of the head of the Great Peter. It was not for nothing that later Petersburg folklore was replenished with the saying "A fool catches up with a smart one, but Isaac gets in the way."

By the way, it was not new for Pyotr Ivanovich Klodt to deal with enemies with the help of his sculptures. Passing along the Anichkov Bridge, once again pay attention to Klodt's horses: an ardent anti-Bonapartist, a sculptor in his spirit “pricked” a “violent Corsican”, chiseling a Napoleonic profile between the legs of one of the horses. According to another version, this is the physiognomy of the wife's lover.

The people of St. Petersburg used to have a riddle about the Anichkov Bridge: how many eggs are on the bridge? Now they answer - 16, and before 1917 they answered - 18, because there was a policeman on duty around the clock. And in the days of Gorby's anti-alcohol campaign, they said that in the whole city there are only 4 non-drinking men - their hands are busy, they keep horses.

About the sculptor

Pyotr Karlovich Klodt is a Russian sculptor from the baronial family of Klodt von Jurgensburg.

Peter Klodt came from a poor ancient family. He began his career in military service. But soon Klodt became interested in the art of sculpture, and after graduating from the artillery school, the young man entered the Academy of Arts. The sculptor was obsessed with creativity. His contemporaries recalled that Klodt constantly observed horses, their postures and movements, trying to convey in sculpture all the beauty of animals to "perfect accuracy".

Klodt's talent over time was highly appreciated in the world. The sculptor was elected to the Art Academies of Paris, Berlin and Rome. But success did not turn his head - until the end of his days, Klodt remained a modest and disinterested person, distributing his income to needy people. There is still a legend about his death: supposedly unkind people told the sculptor that two stallions in his compositions lacked tongues. This message saddened Klodt so much that he fell seriously ill and soon died.

All the free time that remained from learning the military craft, he gave to his hobby:

It is also known that during this period Klodt devoted a lot of time to studying the postures, gaits and habits of horses. "Comprehending the horse as a subject of artistic creativity, he had no other mentor than nature" .

After graduating from college, the future sculptor received the rank of second lieutenant. The officer served in the training artillery brigade until the age of 23, and after that in 1828 he left military service and decided to continue to engage exclusively in sculpture.

Sculptor

For two years, Klodt studied on his own, copied modern and antique works of art and worked from nature. Since 1830, he has been a volunteer at the Academy of Arts, his teachers were the rector of the Academy, IP Martos, as well as the masters of sculpture, S. I. Galberg and B. I. Orlovsky. They, approving the work and talent of the young sculptor, helped him to achieve success. All this time, Pyotr Karlovich lived and worked in one of the basements. He even brought horses there. There he painted them from various angles. Klodt studied the horse from all its sides and poses. Inside his workroom it was dirty, there were lumps of clay, drawings, sketches. The baron himself went to bed. People were perplexed: "How can a baron live in such squalor?"

Klodt's talent and perseverance brought unexpected dividends: from the beginning of the 1830s, his figurines depicting horses began to enjoy great success.

Horses of the Narva Gate

A strong continuation of his career was a large government order for the sculptural decoration of the Narva Gates, together with such experienced sculptors as S. S. Pimenov and V. I. Demut-Malinovsky. On the attic of the arch there is a six horses carrying the chariot of the goddess of glory, made of forged copper according to the model of Klodt in 1833. Unlike the classic images of this plot, the horses performed by Klodt are rapidly rushing forward and even rearing up. At the same time, the entire sculptural composition gives the impression of rapid movement.

After completing this work, the author received worldwide fame and the patronage of Nicholas I. There is a legend that Nicholas I said: "Well, Klodt, you make horses better than a stallion."

Anichkov bridge

In late 1832 - early 1833, the sculptor received a new government order for the execution of two sculptural groups to decorate the palace pier on the Admiralteyskaya Embankment. In the summer of 1833, Klodt made models for the project, and in August of the same year the models were approved by the emperor and delivered to the Academy of Arts for discussion.

Members of the academic council expressed their full satisfaction with the work of the sculptor and it was decided to complete both first groups in full size. After this success, there was a break in work on this project, due to the fact that Klodt was completing work on the sculptural composition of the Narva Gate.

This break ended in the mid-1830s and work on the project continued. Emperor Nicholas I, who oversaw the pier project, did not approve of the combination of lions and horses. Instead of the Dioscuri, vases were installed on the pier.

P. K. Klodt drew attention to the project for the reconstruction of the Anichkov Bridge and proposed placing the sculptures not on the piers of the Admiralteiskaya Embankment or on the Admiralteisky Boulevard, but to transfer them to the supports of the Anichkov Bridge.

The proposal was approved and new project provided for the installation of two pairs of sculptural compositions on four pedestals on the western and eastern sides of the bridge.

By 1838 the first group had been realized in natural size and was ready to be translated into bronze.

Suddenly, an insurmountable obstacle arose: suddenly died, without leaving a successor, the head of the Foundry Yard of the Imperial Academy of Arts V. P. Ekimov.

Without this person, the casting of sculptures was impossible, as a result of which the sculptor decided to independently supervise the implementation of foundry work.

Wilkinus Pferdebändiger in St. Petersburg.jpg

Fourth composition

Anichkov bridge horse tamer 2.jpg

Third composition

Second composition

Anichkov bridge horse tamer 4.jpg

First composition

Incarnation in bronze

To perform the work, he needed the skills of the basics of foundry, which he was taught in artillery school, practically mastered in the service in the artillery and used in the lessons of V.P. Ekimov when Klodt was a volunteer at the academy.

Having headed the Foundry Yard in 1838, he began to improve, bringing technological innovations and modern methods to the work of production.

The fact that the sculptor became a caster brought unexpected results: most of the cast statues did not require additional processing (chasing or corrections).

To achieve this result, it was necessary to carefully work on the wax original with the reproduction of the smallest possibilities and the entire cast of the composition (up to this point such large sculptures were cast in parts). Between 1838 and 1841, the sculptor managed to make two compositions in bronze and began preparations for casting the second pair of sculptures.

Two pairs of sculptural compositions stood on the side pedestals: bronze groups were located on the right bank of the Fontanka River (from the side of the Admiralty), painted plaster copies were installed on the pedestals of the left bank.

In Berlin

Re-castings were made in 1842, but they did not reach the bridge, the emperor presented this pair to the Prussian king Friedrich Wilhelm IV and, at his direction, the sculptures went to Berlin to decorate the main gate of the royal palace.

In Naples

In 1843-1844 copies were made again.

From 1844 until the spring of 1846, they remained on the pedestals of the Anichkov Bridge, then Nicholas I sent them to the "King of the Two Sicilies" Ferdinand II (to the Royal Palace in Naples).

Naples. The steed of Klodt. left group.jpg

Left group

Right group

Also, copies of the sculptures are installed in gardens and palace buildings in Russia: in the vicinity of St. Petersburg - near the Orlovsky Palace in Strelna and Peterhof, as well as on the territory of the Golitsyn estate in Kuzminki near Moscow, the Kuzminki-Vlakhernskoye estate.

Since 1846, plaster copies were again placed on the eastern side of the Anichkov Bridge, and the artist began to create a further continuation and completion of the ensemble.

The participants in the composition were the same: the horse and the driver, but they had different movements and composition, as well as a new plot.

It took the artist four years to complete the copies, and in 1850 the plaster sculptures finally disappeared from the Anichkov Bridge, and in their place the soldiers of the Engineer Battalion under the leadership of Baron Klodt hoisted new bronze figures. The work on the design of the Anichkov Bridge was completed.

Plot

1. In the first group the animal is obedient to man - the naked athlete, squeezing the bridle, restrains the rearing horse. Both animal and man are tense, the struggle is growing.
   • This is shown using two main diagonals: the smooth silhouette of the horse's neck and back, which can be seen against the sky, forms the first diagonal, which intersects with the diagonal formed by the figure of the athlete. Movements are marked with rhythmic repetitions.
2. In the second group the head of the animal is upturned high, the mouth is bared, the nostrils are swollen, the horse beats with its front hooves in the air, the figure of the driver is deployed in the form of a spiral, he is trying to upset the horse.
   • The main diagonals of the composition are approaching, the silhouettes of the horse and the driver seem to be intertwined.
3. In the third group the horse overcomes the driver: the man is thrown to the ground, and the horse tries to break free, triumphantly arching its neck and throwing the blanket to the ground. The horse's freedom is hindered only by the bridle in the driver's left hand.
   • The main diagonals of the composition are clearly expressed and their intersection is highlighted. The silhouettes of the horse and the driver form an open composition, in contrast to the first two sculptures.
4. In the fourth group a man tames an angry animal: leaning on one knee, he tames the wild run of a horse, squeezing the bridle with both hands.
   • The silhouette of the horse forms a very gentle diagonal, the silhouette of the driver is indistinguishable due to the drapery falling from the back of the horse. The silhouette of the monument again received isolation and balance.

prototypes

The figures of the Dioscuri in the Roman Forum on the Capitoline Hill served as a direct prototype for Klodt's horses, but these ancient sculptures had an unnatural movement motif, and there is also a violation of proportions: compared to the enlarged figures of young men, the horses look too small. Another prototype was the “Horses of Marley” by the French sculptor Guillaume Coustue, created by him around 1740, and located in Paris at the entrance to the Champs Elysees from Place de la Concorde. In the interpretation of Kustu, horses personify the animal principle, symbolize impetuous indomitable ferocity and are depicted as giants next to undersized drivers.

Klodt, in turn, depicted ordinary cavalry horses, the anatomy of which he studied for many years.

service house

In the 1845-1850s, Klodt took part in the restructuring of the “Service House” of the Marble Palace: according to the project of A.P. Bryullov, the lower floor was intended for the palace stables, and the building overlooking the garden was supposed to become an arena.

In connection with this purpose, to decorate the building on the facade, above the windows of the second floor, in the entire length of the middle part of the building, a seventy-meter relief "Horse in the service of man" was made.

It was made by Klodt according to the graphic sketch of the architect, it consisted of four blocks, not united by a common plot or idea:

• Fighting horsemen;
• Horse processions;
• Riding and chariot rides;
• Plots of hunting.

Art historians believe that this relief was made by Klodt in the image and likeness of horses on the frieze of the Parthenon.

This opinion is also supported by the Roman attire of the people depicted on the reliefs.

Klodt was able to apply an innovative technique: he made a monument, unlike the plastic images of commanders, kings, nobles, who in his time adorned St. Petersburg and Moscow, abandoning the usual language of allegories and creating a realistically accurate portrait image.

The sculptor depicted the fabulist sitting on a bench, dressed in casual clothes in a natural relaxed pose, as if he had sat down to rest under the lindens of the Summer Garden.

All these elements focus on the poet's face, in which the sculptor tried to convey the characteristics of Krylov's personality. The sculptor managed to embody the portrait and general likeness of the poet, which was recognized by his contemporaries.

The artist's idea went beyond a simple image of the poet, Klodt decided to create a sculptural composition, placing high-relief images of fable characters around the perimeter of the pedestal.

The images are illustrative in nature, and in 1849 Klodt attracted the famous illustrator A. A. Agin to work on the composition.

Klodt transferred the figures to the pedestal, carefully comparing the images with living nature.

Work on the monument was completed in 1855.

Criticism of the monument

Klodt was criticized for petty pickiness in order to achieve maximum realism in the depiction of animals in high relief, the author was pointed out that the characters of the fables in the imagination of readers were more allegorical than they were real crayfish, dogs, foxes.

Despite this criticism, the descendants highly appreciated the work of the sculptors, and the monument to Krylov took its rightful place in the history of Russian sculpture.

Monument to Prince Vladimir of Kyiv

The work ended with the presentation in 1835 of the project to the president of the Imperial Academy of Arts.

For unknown reasons, work on the project was suspended for a decade.

In 1846, Demut-Malinovsky died, after which the architect K. A. Ton took over the management of the work.

At the end of the same year, information appeared that "project approved". Ton re-arranged the project, taking as a basis the sketch of the Demuth-Malinovsky model and designed the pedestal in the form of a high tower-like church in pseudo-Byzantine style.

Klodt at that time was in charge of the foundry of the Academy of Arts, he was entrusted with casting the monument in bronze. Before casting, he had to reproduce a small figurine made at one time by Demut-Malinovsky on the gigantic scale of the monument.

When performing this work, changes regarding the model are inevitable.

It is impossible to assess these differences, since the sketch model has not been preserved.

Klodt did a great job on the face of the sculpture, giving it an expression of spirituality and inspiration.

The monument is a bronze statue 4.5 meters high, mounted on a pedestal 16 meters high. The monument is laconic and austere, it belongs to the typical examples of Russian classicism. Prince Vladimir is dressed in a long, flowing cloak, in his hand is a cross, which he stretches over the city.

Klodt did his job very conscientiously, moved the statue from St. Petersburg to Kyiv and very well chose a place for it: the statue is inscribed in the high mountainous landscape of the banks of the Dnieper.

Several sculptors worked on the design of the monument: Klodt himself made the figure of the emperor. The pedestal was designed by sculptors:

• N. A. Romazanov created three bas-reliefs.
• R. K. Zaleman in 1856-1858 executed four allegorical female figures: “Strength”, “Wisdom”, “Justice” and “Faith”, and a bas-relief on the same pedestal depicting the presentation of the Code of Laws by Count M. M. Speransky to the Emperor .

The top of the composition is the equestrian figure of the emperor. The original sketch, created by Klodt, was a rider on a calmly standing horse. The author, with the help of facial expressions and gestures, planned to reflect the character of the emperor, but this option was rejected by Montferrand due to the fact that he could not serve the original goal of combining spatial ensembles.

The sculptor created a new sketch. In it, abandoning the idea to characterize the character, he depicted a horse in motion, leaning only on the back pair of legs. At the same time, the impetuous posture of the horse is opposed by the ceremonial figure of the emperor, stretched into a string. To implement this sketch, the sculptor accurately calculated the weight of the entire equestrian figure in order for it to stand, relying on only two points of support. This option was accepted by the architect and embodied in bronze.

Technical mastery of the most difficult task - placing the horse on two points of support. For their strength, Klodt ordered iron supports at the best plant in Olonets (weighing 60 pounds, costing 2,000 silver rubles).

• Soviet historians and art historians did not highly appreciate the compositional and stylistic composition of the monument and noted that the elements do not look like a single composition:
  • The pedestal, the reliefs on the pedestal and the equestrian statue are not subject to a single idea and to some extent contradict each other.
  • The forms of the monument themselves are crushed and overloaded with small details, and the composition is pretentious and overly decorative.

• At the same time, they highlighted positive features compositions:
  1. It meets the intended purpose and, complementing the ensemble of the square, gives it completeness and integrity.
  2. All parts of the whole are professionally made by masters of their craft, the artistic value of the elements is undeniable.
• After the Revolution of 1917, the monument to Nicholas I on St. Isaac's Square was preparing for demolition, like everything related to tsarism, but thanks to a unique feature - the heavy equestrian statue rests only on its hind legs - it was recognized as a masterpiece of engineering and was not destroyed in Soviet times.

Cathedral of Christ the Savior in Moscow

Together with the sculptors A. V. Loganovsky, N. A. Ramazanov and others, he worked on the sculptures of the temple-monument in the "Russian-Byzantine" style - the Cathedral of Christ the Savior (it took almost 40 years to build), from September 10, 1839. It was he, and not N.A. Ramazanov, who executed the high relief of the Great Martyr George on the north side of the temple, now located in the Donskoy Monastery (see "Historical Description of the Temple in the Name of Christ the Savior in Moscow" M. 1883 M. Mostovsky - head of the office temple building).

Summary of the life of a sculptor

In addition to the tangible legacy in the form of graphics and plastics, which the master left to his descendants, he conquered several more peaks in his life:

Small sculptural forms

Throughout his career, Klodt worked in the direction of plastics of small forms. The statuettes of this author were highly valued by his contemporaries. Some of them are included in the collections of museums such as the State Russian Museum.

Death

The artist spent the last years of his life at his dacha Khalola, where he died on November 8 (20).

In November 1867, blizzards blew when he lived at the dacha in Halola, and the granddaughter asked her grandfather to carve out a horse for her. Klodt took a playing card and scissors.
- Baby! When I was little, like you, my poor father also made me happy by cutting out horses from paper ... His face suddenly twisted, his granddaughter screamed:
- Grandpa, don't make me laugh with your grimaces!
Klodt staggered and collapsed to the floor.

see also

• Mikhail Petrovich Klodt (1835-1914) - artist, son of P. K. Klodt

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Notes

• // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• Samoilov A. Koni Klodt // Artist. 1961, No. 12. S.29-34.
• Petrov V. N. Pyotr Karlovich Klodt / Design by I. S. Serov. - L.: Artist of the RSFSR, 1973. - 60 p. - (Mass library on art). - 20,000 copies.(reg.)
• Petrov V. N. Pyotr Karlovich Klodt, 1805-1867. - L .: Artist of the RSFSR, 1985. - (Mass Library for Art).(reg.)
• Klodt G. A.“Pyotr Klodt sculpted and cast…” / Georgy Klodt; Hood. A. A. Zubchenko. - M .: Soviet artist, 1989. - 240 p. - (Stories about artists). - 25,000 copies. - ISBN 5-269-00030-X.(reg.)
• Klodt G. A. The Tale of My Ancestors / G. A. Klodt; Artist E. G. Klodt. - M .: Military Publishing House, 1997. - 304, p. -( rare book). - 10,000 copies. - ISBN 5-203-01796-6.(in lane, superregional)
• Krivdina O. A. Sculptor Petr Karlovich Klodt. - St. Petersburg. : Ma'am, 2005. - 284 p. - ISBN 5-88718-042-0.(in lane, superregional)
• samlib.ru/s/shurygin_a_i/klodt.shtml Taming the recalcitrant

Links

• // Magazine "Golden Mustang" №2/2002
• Romm A. P. K. Klodt. - M.-L.: Art, 1948. - 50 p. - 0.13 k.

An excerpt characterizing Klodt, Pyotr Karlovich

Returning from the review, Kutuzov, accompanied by an Austrian general, went to his office and, calling the adjutant, ordered to give himself some papers relating to the condition of the incoming troops, and letters received from Archduke Ferdinand, who commanded the forward army. Prince Andrei Bolkonsky with the required papers entered the office of the commander in chief. In front of the plan laid out on the table sat Kutuzov and an Austrian member of the Hofkriegsrat.
“Ah ...” said Kutuzov, looking back at Bolkonsky, as if by this word inviting the adjutant to wait, and continued the conversation begun in French.
“I only say one thing, General,” Kutuzov said with a pleasant elegance of expression and intonation, forcing one to listen to every leisurely spoken word. It was evident that Kutuzov listened to himself with pleasure. - I only say one thing, General, that if the matter depended on my personal desire, then the will of His Majesty Emperor Franz would have been fulfilled long ago. I would have joined the Archduke long ago. And believe my honor, that for me personally to transfer the higher command of the army more than I am to a knowledgeable and skillful general, such as Austria is so plentiful, and to lay down all this heavy responsibility for me personally would be a joy. But circumstances are stronger than us, General.
And Kutuzov smiled with such an expression as if he were saying: “You have every right not to believe me, and even I don’t care whether you believe me or not, but you have no reason to tell me this. And that's the whole point."
The Austrian general looked dissatisfied, but could not answer Kutuzov in the same tone.
“On the contrary,” he said in a grouchy and angry tone, so contrary to the flattering meaning of the words spoken, “on the contrary, Your Excellency’s participation in the common cause is highly valued by His Majesty; but we believe that a real slowdown deprives the glorious Russian troops and their commanders of those laurels that they are accustomed to reap in battle, ”he finished the apparently prepared phrase.
Kutuzov bowed without changing his smile.
- And I am so convinced and, based on the last letter that His Highness Archduke Ferdinand honored me, I assume that the Austrian troops, under the command of such a skilled assistant as General Mack, have now already won a decisive victory and no longer need our help, - Kutuzov said.
The general frowned. Although there was no positive news about the defeat of the Austrians, there were too many circumstances confirming the general unfavorable rumors; and therefore Kutuzov's assumption about the victory of the Austrians was very similar to a mockery. But Kutuzov smiled meekly, still with the same expression that said that he had the right to assume this. Indeed, the last letter he received from Mack's army informed him of the victory and the most advantageous strategic position of the army.
“Give me this letter here,” said Kutuzov, turning to Prince Andrei. - Here you are, if you want to see it. - And Kutuzov, with a mocking smile on the ends of his lips, read the following passage from the letter of Archduke Ferdinand from the German-Austrian general: “Wir haben vollkommen zusammengehaltene Krafte, nahe an 70,000 Mann, um den Feind, wenn er den Lech passirte, angreifen und schlagen zu konnen. Wir konnen, da wir Meister von Ulm sind, den Vortheil, auch von beiden Uferien der Donau Meister zu bleiben, nicht verlieren; mithin auch jeden Augenblick, wenn der Feind den Lech nicht passirte, die Donau ubersetzen, uns auf seine Communikations Linie werfen, die Donau unterhalb repassiren und dem Feinde, wenn er sich gegen unsere treue Allirte mit ganzer Macht wenden wollte, seine Absicht alabald vereitel ien. Wir werden auf solche Weise den Zeitpunkt, wo die Kaiserlich Ruseische Armee ausgerustet sein wird, muthig entgegenharren, und sodann leicht gemeinschaftlich die Moglichkeit finden, dem Feinde das Schicksal zuzubereiten, so er verdient.” [We have a fully concentrated force, about 70,000 people, so that we can attack and defeat the enemy if he crosses the Lech. Since we already own Ulm, we can retain the advantage of commanding both banks of the Danube, therefore, every minute, if the enemy does not cross the Lech, cross the Danube, rush to his communication line, cross the Danube lower and the enemy, if he decides to turn all his strength on our faithful allies, to prevent his intention from being fulfilled. Thus, we will cheerfully look forward to the time when the imperial Russian army completely ready, and then together we can easily find an opportunity to prepare the fate of the enemy, which he deserves.
Kutuzov sighed heavily, having finished this period, and carefully and affectionately looked at the member of the Hofkriegsrat.
“But you know, Your Excellency, the wise rule of assuming the worst,” said the Austrian general, apparently wanting to end the jokes and get down to business.
He glanced involuntarily at the adjutant.
“Excuse me, General,” Kutuzov interrupted him and also turned to Prince Andrei. - That's what, my dear, you take all the reports from our scouts from Kozlovsky. Here are two letters from Count Nostitz, here is a letter from His Highness Archduke Ferdinand, here's another,” he said, handing him some papers. - And from all this, cleanly, in French, make a memorandum, a note, for the visibility of all the news that we had about the actions of the Austrian army. Well, then, and present to his Excellency.
Prince Andrei bowed his head as a sign that he understood from the first words not only what was said, but also what Kutuzov would like to tell him. He collected the papers, and, giving a general bow, quietly walking along the carpet, went out into the waiting room.
Despite the fact that not much time has passed since Prince Andrei left Russia, he has changed a lot during this time. In the expression of his face, in his movements, in his gait, there was almost no noticeable former pretense, fatigue and laziness; he had the appearance of a man who has no time to think about the impression he makes on others, and is busy with pleasant and interesting business. His face expressed more satisfaction with himself and those around him; his smile and look were more cheerful and attractive.
Kutuzov, whom he caught up with back in Poland, received him very affectionately, promised him not to forget him, distinguished him from other adjutants, took him with him to Vienna and gave him more serious assignments. From Vienna, Kutuzov wrote to his old comrade, the father of Prince Andrei:
“Your son,” he wrote, “gives hope to be an officer who excels in his studies, firmness and diligence. I consider myself fortunate to have such a subordinate at hand.”
At Kutuzov's headquarters, among his comrades, and in the army in general, Prince Andrei, as well as in St. Petersburg society, had two completely opposite reputations.
Some, a minority, recognized Prince Andrei as something special from themselves and from all other people, expected great success from him, listened to him, admired him and imitated him; and with these people, Prince Andrei was simple and pleasant. Others, the majority, did not like Prince Andrei, they considered him an inflated, cold and unpleasant person. But with these people, Prince Andrei knew how to position himself in such a way that he was respected and even feared.
Coming out of Kutuzov's office into the waiting room, Prince Andrei with papers approached his comrade, adjutant on duty Kozlovsky, who was sitting by the window with a book.
- Well, what, prince? Kozlovsky asked.
- Ordered to draw up a note, why not let's go forward.
- And why?
Prince Andrew shrugged his shoulders.
- No word from Mac? Kozlovsky asked.
- No.
- If it were true that he was defeated, then the news would come.
“Probably,” said Prince Andrei and went to the exit door; but at the same time to meet him, slamming the door, a tall, obviously newcomer, Austrian general in a frock coat, with a black scarf tied around his head and with the Order of Maria Theresa around his neck, quickly entered the reception room. Prince Andrew stopped.
- General Anshef Kutuzov? - quickly said the visiting general with a sharp German accent, looking around on both sides and without stopping walking to the door of the office.
“The general is busy,” said Kozlovsky, hurriedly approaching the unknown general and blocking his way from the door. - How would you like to report?
The unknown general looked contemptuously down at the short Kozlovsky, as if surprised that he might not be known.
“The general chief is busy,” Kozlovsky repeated calmly.
The general's face frowned, his lips twitched and trembled. He took out a notebook, quickly drew something with a pencil, tore out a piece of paper, gave it away, went with quick steps to the window, threw his body on a chair and looked around at those in the room, as if asking: why are they looking at him? Then the general raised his head, stretched out his neck, as if intending to say something, but immediately, as if carelessly starting to hum to himself, made a strange sound, which was immediately stopped. The door of the office opened, and Kutuzov appeared on the threshold. The general with his head bandaged, as if running away from danger, bent over, with large, quick steps of thin legs, approached Kutuzov.
- Vous voyez le malheureux Mack, [You see the unfortunate Mack.] - he said in a broken voice.
The face of Kutuzov, who was standing in the doorway of the office, remained completely motionless for several moments. Then, like a wave, a wrinkle ran over his face, his forehead smoothed out; he bowed his head respectfully, closed his eyes, silently let Mack pass him, and closed the door behind him.
The rumor, already spread before, about the defeat of the Austrians and the surrender of the entire army at Ulm, turned out to be true. Half an hour later, adjutants were sent in different directions with orders proving that soon the Russian troops, who had been inactive until now, would have to meet with the enemy.
Prince Andrei was one of those rare officers on staff who considered his main interest in the general course of military affairs. Seeing Mack and hearing the details of his death, he realized that half of the campaign was lost, understood the whole difficulty of the position of the Russian troops and vividly imagined what awaited the army, and the role that he would have to play in it.
Involuntarily, he experienced an exciting joyful feeling at the thought of shaming presumptuous Austria and that in a week, perhaps, he would have to see and take part in a clash between Russians and French, for the first time after Suvorov.
But he was afraid of the genius of Bonaparte, who could be stronger than all the courage of the Russian troops, and at the same time he could not allow shame for his hero.
Excited and irritated by these thoughts, Prince Andrei went to his room to write to his father, to whom he wrote every day. He met in the corridor with his roommate Nesvitsky and the joker Zherkov; they, as always, laughed at something.
Why are you so gloomy? Nesvitsky asked, noticing the pale face of Prince Andrei with sparkling eyes.
“There is nothing to have fun,” answered Bolkonsky.
While Prince Andrei met with Nesvitsky and Zherkov, on the other side of the corridor Strauch, an Austrian general who was at Kutuzov's headquarters to monitor the food of the Russian army, and a member of the Hofkriegsrat, who had arrived the day before, were walking towards them. There was enough space along the wide corridor for the generals to disperse freely with three officers; but Zherkov, pushing Nesvitsky away with his hand, said in a breathless voice:
- They're coming! ... they're coming! ... step aside, the road! please way!
The generals passed with an air of desire to get rid of troubling honors. On the face of the joker Zherkov suddenly expressed a stupid smile of joy, which he seemed unable to contain.
“Your Excellency,” he said in German, moving forward and addressing the Austrian general. I have the honor to congratulate you.
He bowed his head and awkwardly, like children learning to dance, began to scrape one leg or the other.
The General, a member of the Hofkriegsrath, looked sternly at him; not noticing the seriousness of the stupid smile, he could not refuse a moment's attention. He squinted to show he was listening.
“I have the honor to congratulate you, General Mack has arrived, in perfect health, only a little hurt here,” he added, beaming with a smile and pointing to his head.
The general frowned, turned away, and walked on.
Gott, wie naive! [My God, how simple he is!] – he said angrily, moving away a few steps.
Nesvitsky embraced Prince Andrei with laughter, but Bolkonsky, turning even paler, with an evil expression on his face, pushed him away and turned to Zherkov. That nervous irritation into which the sight of Mack, the news of his defeat, and the thought of what awaited the Russian army had brought him, found its outlet in bitterness at Zherkov's inappropriate joke.
“If you, dear sir,” he spoke piercingly with a slight trembling of his lower jaw, “want to be a jester, then I cannot prevent you from doing so; but I announce to you that if you dare another time to make a fuss in my presence, then I will teach you how to behave.
Nesvitsky and Zherkov were so surprised by this trick that they silently, with their eyes wide open, looked at Bolkonsky.
“Well, I only congratulated you,” said Zherkov.
- I'm not joking with you, if you please be silent! - Bolkonsky shouted and, taking Nesvitsky by the hand, he walked away from Zherkov, who could not find what to answer.
“Well, what are you, brother,” Nesvitsky said reassuringly.
- Like what? - Prince Andrei spoke, stopping from excitement. - Yes, you understand that we, or officers who serve their tsar and fatherland and rejoice at the common success and grieve about the common failure, or we are lackeys who do not care about the master's business. Quarante milles hommes massacres et l "ario mee de nos allies detruite, et vous trouvez la le mot pour rire," he said, as if reinforcing his opinion with this French phrase. - C "est bien pour un garcon de rien, comme cet individu , dont vous avez fait un ami, mais pas pour vous, pas pour vous. [Forty thousand people died and the allied army was destroyed, and you can joke about it. This is forgivable to an insignificant boy, like this gentleman whom you have made your friend, but not to you, not to you.] Boys can only be so amused, - said Prince Andrei in Russian, pronouncing this word with a French accent, noting that Zherkov could still hear it.
He waited for the cornet to answer. But the cornet turned and walked out of the corridor.

The Pavlograd Hussar Regiment was stationed two miles from Braunau. The squadron, in which Nikolai Rostov served as a cadet, was located in the German village of Salzenek. The squadron commander, captain Denisov, known to the entire cavalry division under the name of Vaska Denisov, was assigned the best apartment in the village. Junker Rostov had been living with the squadron commander ever since he caught up with the regiment in Poland.
On October 11, on the very day when everything in the main apartment was raised to its feet by the news of Mack's defeat, camping life at the squadron headquarters calmly went on as before. Denisov, who had been losing all night at cards, had not yet returned home when Rostov, early in the morning, on horseback, returned from foraging. Rostov, in a cadet uniform, rode up to the porch, pushed the horse, threw off his leg with a flexible, young gesture, stood on the stirrup, as if not wanting to part with the horse, finally jumped down and called out to the messenger.
“Ah, Bondarenko, dear friend,” he said to the hussar, who rushed headlong to his horse. “Let me out, my friend,” he said with that brotherly, cheerful tenderness with which good young people treat everyone when they are happy.
“I’m listening, your excellency,” answered the Little Russian, shaking his head merrily.
- Look, take it out well!
Another hussar also rushed to the horse, but Bondarenko had already thrown over the reins of the snaffle. It was evident that the junker gave well for vodka, and that it was profitable to serve him. Rostov stroked the horse's neck, then its rump, and stopped on the porch.
“Glorious! Such will be the horse! he said to himself, and, smiling and holding his saber, he ran up to the porch, rattling his spurs. The German owner, in a sweatshirt and cap, with a pitchfork, with which he cleaned the manure, looked out of the barn. The German's face suddenly brightened as soon as he saw Rostov. He smiled cheerfully and winked: “Schon, gut Morgen! Schon, gut Morgen!" [Wonderful, good morning!] he repeated, apparently finding pleasure in greeting the young man.
– Schonfleissig! [Already at work!] - said Rostov, still with the same joyful, brotherly smile that did not leave his animated face. – Hoch Oestreicher! Hoch Russen! Kaiser Alexander hoch! [Hooray Austrians! Hooray Russians! Emperor Alexander hurray!] - he turned to the German, repeating the words often spoken by the German host.
The German laughed, went completely out of the barn door, pulled
cap and, waving it over his head, shouted:
– Und die ganze Welt hoch! [And the whole world cheers!]
Rostov himself, just like a German, waved his cap over his head and, laughing, shouted: “Und Vivat die ganze Welt!” Although there was no reason for special joy either for the German who was cleaning his cowshed, or for Rostov, who went with a platoon for hay, both of these people looked at each other with happy delight and brotherly love, shook their heads in a sign of mutual love and parted smiling - the German to the barn, and Rostov to the hut he shared with Denisov.
- What's the sir? he asked Lavrushka, the rogue lackey Denisov known to the whole regiment.
Haven't been since the evening. It’s true, we lost,” answered Lavrushka. “I already know that if they win, they will come early to show off, but if they don’t until morning, then they’ve blown away, the angry ones will come. Would you like coffee?
- Come on, come on.
After 10 minutes, Lavrushka brought coffee. They're coming! - he said, - now the trouble. - Rostov looked out the window and saw Denisov returning home. Denisov was a small man with a red face, shining black eyes, black tousled mustache and hair. He was wearing an unbuttoned mentic, wide chikchirs lowered in folds, and a crumpled hussar cap was put on the back of his head. He gloomily, lowering his head, approached the porch.
“Lavg” ear, ”he shouted loudly and angrily. “Well, take it off, blockhead!
“Yes, I’m filming anyway,” answered Lavrushka’s voice.
- A! you already got up, - said Denisov, entering the room.
- For a long time, - said Rostov, - I already went for hay and saw Fraulein Matilda.
– That's how! And I pg "puffed up, bg" at, vcheg "a, like a son of a bitch!" shouted Denisov, without pronouncing the river. - Such a misfortune! Such a misfortune! As you left, so it went. Hey, tea!
Denisov, grimacing, as if smiling and showing his short, strong teeth, began to ruffle his black, thick hair, like a dog, with both hands with short fingers.
- Chog "t me money" zero to go to this kg "yse (nickname of the officer)," he said, rubbing his forehead and face with both hands. "You didn't.
Denisov took the lighted pipe handed to him, clenched it into a fist, and, scattering fire, hit it on the floor, continuing to shout.
- The sempel will give, pag "ol beats; the sempel will give, pag" ol beats.
He scattered the fire, smashed the pipe and threw it away. Denisov paused, and suddenly, with his shining black eyes, looked merrily at Rostov.
- If only there were women. And then here, kg "oh how to drink, there is nothing to do. If only she could get away."
- Hey, who's there? - he turned to the door, hearing the stopped steps of thick boots with the rattling of spurs and a respectful cough.
- Wahmister! Lavrushka said.
Denisov frowned even more.
“Squeeg,” he said, throwing a purse with several gold pieces. “Gostov, count, my dear, how much is left there, but put the purse under the pillow,” he said and went out to the sergeant-major.
Rostov took the money and, mechanically, putting aside and leveling heaps of old and new gold, began to count them.
- A! Telyanin! Zdog "ovo! Inflate me all at once" ah! Denisov's voice was heard from another room.
- Who? At Bykov's, at the rat's? ... I knew, - said another thin voice, and after that Lieutenant Telyanin, a small officer of the same squadron, entered the room.
Rostov threw a purse under the pillow and shook the small, damp hand extended to him. Telyanin was transferred from the guard before the campaign for something. He behaved very well in the regiment; but they did not like him, and in particular Rostov could neither overcome nor hide his unreasonable disgust for this officer.
- Well, young cavalryman, how does my Grachik serve you? - he asked. (Grachik was a riding horse, a tack, sold by Telyanin to Rostov.)
The lieutenant never looked into the eyes of the person with whom he spoke; His eyes were constantly moving from one object to another.
- I saw you drove today ...
“Nothing, good horse,” answered Rostov, despite the fact that this horse, bought by him for 700 rubles, was not worth even half of this price. “I began to crouch on the left front ...” he added. - Cracked hoof! It's nothing. I will teach you, show you which rivet to put.
“Yes, please show me,” said Rostov.
- I'll show you, I'll show you, it's not a secret. And thank you for the horse.
“So I order the horse to be brought,” said Rostov, wanting to get rid of Telyanin, and went out to order the horse to be brought.
In the passage, Denisov, with a pipe, crouched on the threshold, sat in front of the sergeant-major, who was reporting something. Seeing Rostov, Denisov frowned and, pointing over his shoulder with his thumb into the room in which Telyanin was sitting, grimaced and shook with disgust.
“Oh, I don’t like the good fellow,” he said, not embarrassed by the presence of the sergeant-major.
Rostov shrugged his shoulders, as if to say: "So do I, but what can I do!" and, having ordered, returned to Telyanin.
Telyanin sat still in the same lazy pose in which Rostov had left him, rubbing his small white hands.
"There are such nasty faces," thought Rostov, entering the room.
“Well, did you order the horse to be brought?” - said Telyanin, getting up and casually looking around.
- Velel.
- Come on, let's go. After all, I only came to ask Denisov about yesterday's order. Got it, Denisov?
- Not yet. Where are you?
“I want to teach a young man how to shoe a horse,” said Telyanin.
They went out onto the porch and into the stables. The lieutenant showed how to make a rivet and went to his room.
When Rostov returned, there was a bottle of vodka and sausage on the table. Denisov sat in front of the table and cracked pen on paper. He looked gloomily into Rostov's face.
“I am writing to her,” he said.
He leaned on the table with a pen in his hand, and, obviously delighted with the opportunity to quickly say in a word everything that he wanted to write, he expressed his letter to Rostov.
- You see, dg "ug," he said. "We sleep until we love. We are the children of pg`axa ... but you fell in love - and you are God, you are pure, as on the peg" day of creation ... Who else is this? Send him to the chog "tu. No time!" he shouted at Lavrushka, who, not at all shy, approached him.
- But who should be? They themselves ordered. The sergeant-major came for the money.
Denisov frowned, wanted to shout something and fell silent.
“Squeeg,” but that’s the point, he said to himself. “How much money is left in the wallet?” he asked Rostov.
“Seven new ones and three old ones.
“Ah, skweg,” but! Well, what are you standing, scarecrows, send a wahmistg “a,” Denisov shouted at Lavrushka.
“Please, Denisov, take my money, because I have it,” said Rostov, blushing.
“I don’t like to borrow from my own, I don’t like it,” grumbled Denisov.
“And if you don’t take money from me comradely, you will offend me. Really, I have, - repeated Rostov.
- No.
And Denisov went to the bed to get a wallet from under the pillow.
- Where did you put it, Rostov?
- Under the bottom cushion.
- Yes, no.
Denisov threw both pillows on the floor. There was no wallet.
- That's a miracle!
“Wait, didn’t you drop it?” said Rostov, picking up the pillows one at a time and shaking them out.
He threw off and brushed off the blanket. There was no wallet.
- Have I forgotten? No, I also thought that you were definitely putting a treasure under your head, ”said Rostov. - I put my wallet here. Where is he? he turned to Lavrushka.
- I didn't go in. Where they put it, there it should be.
- Not really…
- You're all right, throw it somewhere, and forget it. Look in your pockets.
“No, if I didn’t think about the treasure,” said Rostov, “otherwise I remember what I put in.”
Lavrushka rummaged through the whole bed, looked under it, under the table, rummaged through the whole room and stopped in the middle of the room. Denisov silently followed Lavrushka's movements, and when Lavrushka threw up his hands in surprise, saying that he was nowhere to be found, he looked back at Rostov.
- Mr. Ostov, you are not a schoolboy ...
Rostov felt Denisov's gaze on him, raised his eyes and at the same moment lowered them. All his blood, which had been locked up somewhere below his throat, gushed into his face and eyes. He couldn't catch his breath.
- And there was no one in the room, except for the lieutenant and yourself. Here somewhere,” said Lavrushka.
- Well, you, chog "those doll, turn around, look," Denisov suddenly shouted, turning purple and throwing himself at the footman with a menacing gesture. Zapog everyone!
Rostov, looking around Denisov, began to button up his jacket, fastened his saber and put on his cap.
“I’m telling you to have a wallet,” Denisov shouted, shaking the batman’s shoulders and pushing him against the wall.
- Denisov, leave him; I know who took it,” said Rostov, going up to the door and not raising his eyes.
Denisov stopped, thought, and, apparently understanding what Rostov was hinting at, grabbed his hand.
“Sigh!” he shouted so that the veins, like ropes, puffed out on his neck and forehead. “I’m telling you, you’re crazy, I won’t allow it. The wallet is here; I will loosen my skin from this meg'zavetz, and it will be here.
“I know who took it,” Rostov repeated in a trembling voice and went to the door.
“But I’m telling you, don’t you dare do this,” Denisov shouted, rushing to the cadet to restrain him.
But Rostov tore his hand away and with such malice, as if Denisov was his greatest enemy, directly and firmly fixed his eyes on him.
– Do you understand what you are saying? he said in a trembling voice, “there was no one else in the room except me. So, if not, then...
He could not finish and ran out of the room.
“Ah, why not with you and with everyone,” were the last words that Rostov heard.
Rostov came to Telyanin's apartment.
“The master is not at home, they have gone to the headquarters,” Telyanin’s orderly told him. Or what happened? added the batman, surprised at the junker's upset face.
- There is nothing.
“We missed a little,” said the batman.
The headquarters was located three miles from Salzenek. Rostov, without going home, took a horse and rode to headquarters. In the village occupied by the headquarters, there was a tavern frequented by officers. Rostov arrived at the tavern; at the porch he saw Telyanin's horse.
In the second room of the tavern the lieutenant was sitting at a dish of sausages and a bottle of wine.
“Ah, and you stopped by, young man,” he said, smiling and raising his eyebrows high.
- Yes, - said Rostov, as if it took a lot of effort to pronounce this word, and sat down at the next table.
Both were silent; two Germans and one Russian officer were sitting in the room. Everyone was silent, and the sounds of knives on plates and the lieutenant's champing could be heard. When Telyanin had finished breakfast, he took a double purse out of his pocket, spread the rings with his little white fingers bent upwards, took out a gold one, and, raising his eyebrows, gave the money to the servant.
“Please hurry,” he said.
Gold was new. Rostov got up and went over to Telyanin.
“Let me see the purse,” he said in a low, barely audible voice.
With shifty eyes, but still raised eyebrows, Telyanin handed over the purse.
"Yes, a pretty purse... Yes... yes..." he said, and suddenly turned pale. “Look, young man,” he added.
Rostov took the wallet in his hands and looked at it, and at the money that was in it, and at Telyanin. The lieutenant looked around, as was his habit, and seemed to suddenly become very cheerful.
“If we’re in Vienna, I’ll leave everything there, and now there’s nowhere to go in these crappy little towns,” he said. - Come on, young man, I'll go.
Rostov was silent.
- What about you? have breakfast too? They are decently fed,” continued Telyanin. - Come on.
He reached out and took hold of the wallet. Rostov released him. Telyanin took the purse and began to put it into the pocket of his breeches, and his eyebrows casually rose, and his mouth opened slightly, as if he were saying: “Yes, yes, I put my purse in my pocket, and it’s very simple, and no one cares about this” .
- Well, what, young man? he said, sighing and looking into Rostov's eyes from under his raised eyebrows. Some kind of light from the eyes, with the speed of an electric spark, ran from Telyanin's eyes to Rostov's eyes and back, back and back, all in an instant.
“Come here,” said Rostov, grabbing Telyanin by the hand. He almost dragged him to the window. - This is Denisov's money, you took it ... - he whispered in his ear.