Summerfolk

50. A. A. Pelikan. “Vo vtoroi polovine XIX veka.” Golos minuvshego, no. 2 (1914), 137 (Pelikan is recalling St. Petersburg in the 1850s). Accounts of public celebrations at Peterhof in the first half of the nineteenth century are quoted in E. Amburger, Ingermanland: Eine junge Provinz Rußlands im Wirkungsbereich der Residenz und Weltstadt St. Petersburg-Leningrad, 2 vols. (Cologne, 1980), 1:552–55. A useful early survey of entertainment culture in Moscow is P. Vistengof, Ocherki moskovskoi zhizni (Moscow, 1842), 83–94. One Moscow guidebook of the same period lists sixteen gulian’ia: see M. Rudol’f, Moskva s topograficheskim ukazaniem vsei ee mestnosti i okrestnostei (Moscow, 1848), pt. 1, 29–31.

51. G. T. Polilov-Severtsev, Nashi dedy-kuptsy: Bytovye kartiny nachala XIX stoletiia (St. Petersburg, 1907), 28.

52. Gogol’, Polnoe sobranie sochinenii, 10:179–80.

53. N. Krestovnikov, Semeinaia khronika Krestovnikovykh, 2 vols. (Moscow, 1904), 2:10. The impact on another merchant’s son of the less extravagant entertainments of 1830 are recorded in T. Polilov-Severtsev, “Iz dnevnika iunoshi ‘tridtsatykh godov,’” Vestnik Evropy, no. 7 (1908), 104.

54. P. Shtorkh, Putevoditel’ po sadu i gorodu Pavlovsku (St. Petersburg, 1843). An English guidebook of 1915 noted that “Pavlovsk calls the more fashionable section of society at holiday-time”: see W. B. Steveni, Petrograd Past and Present (London), 300.

55. See Iu. Arnol’d, Vospominaniia, 1:13–15, for an account of the 1810s; the 1820s are covered in V. A. Sollogub, Vospominaniia (Moscow and Leningrad, 1931).

56. A. Ia. Panaeva, Vospominaniia, 4th ed. (Moscow and Leningrad, 1933), 144. A similar account was left by Count M.D. Buturlin, who recalled Pavlovsk dachniki being visited by the owner, Grand Prince Mikhail Pavlovich, in 1845: see “Zapiski Grafa Mikhaila Dmitrievicha Buturlina,” Russkii arkhiv, no. 3 (1897), 521–23.

57. See Borisova, Russkaia arkhitektura, 247–48.

58. This process was taken further in the 1890s by the conductor N. V. Galkin, who consolidated the move toward “serious” music by performing numerous works by Russian composers (Glinka, Dargomyzhskii, Balakirev, Tchaikovsky). On the history of the Pavlovsk concerts, see A. S. Rozanov, Muzykal’nyi Pavlovsk (Leningrad, 1978). Galkin and the Pavlovsk concerts are mentioned by Osip Mandelstam as evoking the “sickly, doomed provincialism” of the 1890s: see the sketch “Muzyka v Pavlovske,” part of Mandelstam’s Shum vremeni (1925), in his Sochineniia v dvukh tomakh (Moscow, 1990), 2:6–8.

59. See Nikitenko, Diary, entry for 15 May 1869.

60. Pelikan, “Vo vtoroi polovine XIX veka,” 166.

61. V.O. Mikhnevich, “Pod smychkami pavlovskikh skripok (tema dlia dachnogo fantasticheskogo romana),” in his Vsego ponemnozhku: Fel’etonno-iumoristicheskie nabroski (St. Petersburg, 1875).

62. A good source on aristocratic dacha sociability in the middle of the nineteenth century is M. A. Patkul’, Vospominaniia Marii Aleksandrovny Patkul’ rozhdennoi Markizy de Traverse za tri chetverti XIX stoletiia (St. Petersburg, 1903). A very stable, court-orientated way of life in mid-century Tsarskoe Selo is recalled in A. P. Neelov, “Iz dal’nikh let,” Russkaia starina 165 (1916): 111–17, 257–70. Elite dacha life in Peterhof was described as being little different from life in the city in its endless round of socializing: see M. G. Nazimova, “Babushka grafinia MG. Razumovskaia,” Istoricheskii vestnik 75 (1899): 848.

63. M. S. Zhukova, Vechera na Karpovke (Moscow, 1986), 5–6.