In the list of objects cultural heritage, open to the public on April 18 and (or) May 18, just published in the community (http://community.livejournal.com/arch_heritage/322822.html), the house of Porokhovshchikov is also listed:

Very interesting house!
Appeal of the "educated" society to the age-old cultural and artistic heritage of the Russian people.
Very different aspects of this process could be discussed on the material of this remarkable monument (and its numerous relatives - in Noginsk, Kaluga, Uglich, ... and in Moscow). But I would like to note one, perhaps not the most important, but still significant turn of the topic.
Posting a lot of messages about wooden houses in my journal and in the community "Strips of Russia" (http://community.livejournal.com/nalichnik_ru), I note with considerable surprise that, with obvious statistical certainty, from time to time comments come rather strange, I would even say - unnatural orientation. Often in my messages we are talking about vandalism - vandalism of both the population and the authorities. Where can you go - this shameful phenomenon is widespread everywhere. In the aforementioned "unnatural" comments, attempts are made to "justify" vandalism with practically undisguised satisfaction and amazing "passionarity" of destruction. All arguments are valid. In particular - absolutely worthless and absurd:
“You can’t live in such houses. Poor residents - there are cracks in the walls, a draft in the apartment, and (oh horror!) No hot water and sewers. And therefore it is necessary to destroy everything as soon as possible, "and so on, everything is just as unnatural.
Yes, houses built 100 years ago do not have modern amenities, and they need serious repairs.
But it absolutely does not follow from this that the centuries-old heritage should be "thrown off the ship of modernity" and encourage vandals. architectural forms, materials and decor style are in no way an obstacle to home furnishing at the most modern level. What eloquently proves the house of Porokhovshchikov. Already more than a hundred years ago, everything in it was arranged for life in a very, very comfortable and technological way. It would be nice if people who know more about this wrote.
Especially now there can be no contradiction in this matter. Everything has long been compatible "in one bottle." It's amazing that people come up with such strange "arguments"!
Let's take a closer look at the house.
Please do not judge strictly my descriptions and observations - since I do not have an education in this area, I do not have the opportunity to interpret the visible in a qualified manner. Think, knowledgeable people correct and explain what's what in wooden construction.

Facade from Starokonyushenny Lane. In the middle, three pointed architraves are united by a common line of finials, and on the sides - one platband with a horizontal finial line (technological slopes are not considered, they are not included in the decor system):

Central group of three windows:

I "saw off" one platband:

At the windows of the street facade, located on the sides of the central group, the platbands are as follows:

Slightly larger top:

Bottom part:

Here is this casing along with the entire section of the house:

From the information board we learn:
"Architectural monument
Wooden residential building of the last third of the 19th century
(A.A. Porokhovshchikova)
1871
architect A.L. Gun (nrzb)
Protected by the state
The date seems a little strange to me. It is somehow hard to believe that SUCH drawings were created in 1871. Already a very bold and generalizing line without fine detailing. Some 25-30 years later - that would be natural and understandable. But maybe the house was built in 1871, and the decor is still the turn of the century? However, who knows, let him clarify. You may have to revise your established opinion in view of the indisputable facts.
However, back to last photo. On the sides of the window we see amazing decor. The resemblance to the house in Noginsk (http://ehidnazevaka.livejournal.com/2008/07/03/) is amazing! The Noginsk version (on the right) is a clear simplification-flattening-cheapening of the Moscow version (on the left):

Let's look at the side window. Volumes are significant:

The board with the birds is attached in a strange way - some inconsistencies and technological inconsistencies (or traces of some repairs?):

The only frame of a flattened attic (you can’t call this light patch):

Now the porch of the street facade:

Visor decor:

Let's look at the photos of the ends of the logs of the porch and (allegedly) the house itself. I write "allegedly", because in doubt. Maybe it's just a decor that imitates the ends of structurally non-alternative logs? Maybe the transverse logs are not logs at all, but decoration ??? All in some suspicion of unnaturalness, I look at the photos:

Now "Valoms". I put "valances" in quotation marks. Valances should be openwork, light. These gaps are more likely not gaps, but a complex layered frieze:

Let's look at the house from the left corner (the right corner is not very presentable):

And let's move on to the consideration of the side facade. Here we see a single window with a different casing:

The upper part of the casing. The sharp, very sharp peaks of the fence fall into the frame. Well sharpened, however. I wonder what the fence was originally, and whether it was here at all at the time tsarist Russia? It is impossible to perceive this cold-weapon aesthetics as an element of decor, no matter how hard you squint. The class weapon of singers of the social world. They sing and sharpen their peaks to their sweet-voiced singing. This is more than indecent. And not on the outskirts of the industrial zone, but in the very center of Moscow:

Bottom trim board:

Lateral "pilaster", respectively, the lower and upper parts:

A fragment of the pommel along with a patterned wall frieze:

There is also a very diversely decorated high porch on this facade:

Visor closer:

Topmost friezes:

There are so many friezes that I already got confused in them. It seems that this frieze refers to a flat visor, which we see to the left of the ornate finial of the side porch. True, I can no longer understand where the supporting column came from. Maybe not in the frame? Well, okay, then it turns out:

And with this frieze, not everything is clear. The same one just goes down. But here it is filmed in some incomprehensible place. I think this will be cleared up later.

The house “for rent” was built by entrepreneur and philanthropist Porohovshchikov in 1870 on the site of another residential building owned by State Councilor and relative of the writer Griboyedov Nikolai Tinkov. The first building on Arbat, 25, was also famous - its walls saw Pushkin himself! General and poet Denis Davydov lived here, Alexander Sergeevich came to visit him in a friendly way. A hussar, a participant in eight wars, the commander of the partisan movement in 1812, Denis Davydov impressed the young Pushkin with his poetry and his principles even in his lyceum years. Being a mature poet, to the question of the interlocutor “How did you manage not to become an imitator of Zhukovsky or Batyushkov?” Pushkin replied that he owed this to Denis Davydov, who made him feel "the opportunity to be original."

Alexander Porohovshchikov buys a plot on the Arbat in 1869, and in a year, according to the design of the then popular architect Robert Gedike, an apartment house was built - it was built “on a grand scale”, as Porohovshchikov liked. Three floors of brick with windows of various shapes and cast-iron railings of balconies. Unusual for Arbat Art Nouveau with gothic elements- among neighboring buildings in the style of classicism. Nearby, the entrepreneur builds for himself a wooden hut with carved architraves and valances - also “different from all”.

Society of Russian Doctors

Immediately after the construction, the building is leased, and after a while it is bought out by the well-known in Moscow “Society of Russian Doctors”. Having settled on the Arbat in 1865, the doctors open a pharmacy and a public hospital in house number 4, but disagreements with the owner force them to look for another room, and nearby, so as not to incur the wrath of competitors.

The apartment building of Porokhovshchikov became the new address. The very creation of the society was a response to the "Society of German Doctors", who tried to monopolize "the right to treat Muscovites." Doctors from the "Society of Russian Doctors" took for an appointment, "for advice", a symbolic fee compared to the traditional fees of doctors - 20 kopecks. A ticket to the theater then, for example, cost 40 kopecks. If the patient did not have the means at all, then he was taken free of charge. Also, the pharmacy dispensed medicines to the poor free of charge.

“To serve humanity through science!” - the motto of the Society of Russian Doctors. The surgeon Professor Fyodor Inozemtsev stood at its origins. He was the first to perform an operation under ether anesthesia. The second founder of the society is the balneologist Semyon Smirnov, whose name is the "Smirnovskaya" healing water, discovered by him in Zheleznovodsk. In the Arbat hospital, for the first time, they equipped an office “for treatment with electricity” - physiotherapy, as they would say today. Pathologist Academician Aleksey Abrikosov and surgeon, oncology specialist Pyotr Herzen started their path in medicine here.

"Drawing and Painting Classes"

In addition to receiving patients and a pharmacy, on Arbat, 25, doctors published a newspaper, lectured, and gathered like-minded people. At the beginning of the 20th century, Arbat was a street of doctors, not poets and artists, as is commonly believed. According to the reference book "All Moscow", in 1916 there lived 87 doctors, and only 15 artists. By the way, they worked literally side by side with each other. The Society of Russian Doctors coexisted with the Drawing and Painting Classes of Konstantin Yuon and Ivan Dudin. And although the art studio occupied only a small room on the second floor, they also argued here, looking for new methods and ways of self-expression. Vladimir Favorsky and Vera Mukhina, Vasily Vatagin and Alexander Kuprin studied in the "Drawing Classes". The students were not alien to politics: they built barricades on the Arbat in December 1905, for which the courses were almost closed.

Furnished apartments were located on the third floor. Until 1935, the mathematician academician Nikolai Luzin, the founder of the mathematical school of the school of independent thinking, lived and worked in the eighth room, which the students called "Lusitania". His fate was tragic: after a series of "exposing the class enemy" publications in the Pravda newspaper, he was left without a job, without a favorite thing and, in fact, in isolation.

House of A.A. Porokhovshchikov today

Now on Arbat, 25, there is one of the sights of modern Moscow - the Museum of the History of Corporal Punishment. Where particularly impressionable natures are denied entry - methods and machines for "self-mutilation and killing" are presented here in all their diversity.

At the end of one of the oldest streets in Moscow, in the house number 55 on the Arbat is located memorial apartment Andrei Bely. Here, on October 14, 1880, Boris Nikolaevich Bugaev, one of the fathers of Russian symbolism, a poet, prose writer, critic, memoirist and literary scholar, was born.

The history of the house itself is more than a century older than the poet: the old manor house, which underlies the manor, rebuilt in the late 1870s according to the project of the architect Mitrofan Alexandrovich Arseniev, was built before the fire of 1812. Apartments in the apartment building were rented out to teachers of Moscow University, one of which (No. 7) was given to the mathematician Nikolai Vasilyevich Bugaev, the poet's father.

Boris Bugaev spends in the apartment school years, graduated from Moscow University. Fateful for the future symbolist is the neighborhood of the Bugaevs with the family of Mikhail Sergeevich Solovyov, the grandson of the famous historian and brother of the philosopher Vladimir Solovyov. Frequent guests of the Solovyovs are Valery Bryusov, Dmitry Merezhkovsky, Zinaida Gippius, “senior symbolists”, friendship with whom, born here, in house number 55 on Arbat Street, determined the further creative fate of the poet. Here was born his pseudonym - "Andrey Bely".

In 1906, Bely left the house on the Arbat, already a leading Moscow symbolist, having survived the death of his father and the first "mystical love" for Margarita Kirillovna Morozova. The Solovyov family in 1902 helped the poet publish his first book, Symphony (2nd, dramatic).

Having built on the fourth floor, in the 1930s the house will be given over to communal apartments, and the Ministry of Foreign Affairs will exist in it for another half a century. Since 1987, apartment No. 7 has been placed at the disposal of the state literary museum them. A. S. Pushkin, and already in 2000 the Andrei Bely Museum was opened there.

The apartment, which occupies half of the third floor, has five rooms. Now in the nursery there is a part of the exposition related to youthful years poet. Here you can also find all the drafts and notes dedicated to the epic "My Life", which included the stories "Kotik Letaev" and "The Baptized Chinese", the protagonist which, young Letaev, is endowed with many autobiographical features. Part of the exposition dedicated to the poet's mother is located in the parents' bedroom. The exhibits say that it was Alexandra Dmitrievna Bugaeva who instilled in young Borya an interest not only in poetry, but also in music and painting. A separate place in the room is occupied by exhibits telling about the poet's muses: Lyubov Dmitrievna Mendeleeva-Blok and Margarita Kirillovna Morozova.

All of Bely's literary heritage: manuscripts, drafts, letters, books and photographs is located in the former dining room. And the living room has been returned to its historical function. In it today, as in the case of the Bugaev family, creative meetings and musical evenings are held.

Today, the museum funds already contain more than 1000 manuscripts, typescripts and documents, among which you can find autographs of V. Ya. Bryusov, N. S. Gumilyov, I. Severyanin and, thanks to private collections, they are constantly replenished.

Small cozy mansions keep all sorts of secrets and stories inside. They are silent and only people themselves can tell about them. Irina Porokhovshchikova shortly before the tragedy, she said: “This house takes everyone. But I can’t escape from it, I’m drawn here!”…

Starokonyushenny lane, house 36 - the address of an unusual house-hut in the Russian style. This house in late XIX century was erected in Moscow by a philanthropist, hereditary nobleman, vowel of the City Duma, Honorary Citizen of Moscow Alexander Alexandrovich Porohovshchikov.

Unlike other noisily known representatives of domestic entrepreneurship, only rare scarce information is found about Alexander Alexandrovich Porokhovshchikov in memoirs, on the pages of books and magazines.

Meanwhile, Porohovshchikov was a very popular man in his time, striking his contemporaries with irrepressible, overflowing energy and enthusiasm, manifested in a wide variety of fields of activity. His contracting firm was considered one of the most reputable in the construction business. Later became famous publishing activity Porokhovshchikov.

Alexander Alexandrovich Porohovshchikov Photograph of the 1870s

This house is a textbook monument of wooden architecture in the "Russian hut" style, with a unique sawn carving. The house received an award for world exhibition in Paris as the personification of the Russian style.

The house was built by businessman Alexander Alexandrovich Porokhovshchikov in 1870-1872 by architects Dmitry Vasilyevich Lyushin and Andrey Leontyevich Gun.

The first tenant is a well-known electrical engineer Vladimir Nikolaevich Chikolev. Here he placed the “Agency for the Sale of Sewing Machines” organized by him, produced by his own factory, which was based in Khamovniki. The agency sold the first sewing machines with Chikolev electric motors.

From 1875 to 1878, the editorial office and publishing house of A. Gatsuk's Newspaper and the popular at that time Calendar were located in the house on Starokonyushenny. Writers Fyodor Buslaev and Aleksey Pisemsky often visited the editorial office. Nikolai Leskov and Sofya Engelhardt were published more than once in the Gazeta Gatsuka.

Interior decoration of the house

In 1880, the “Library for Reading” by A. M. Gorozhankina was opened in the house. Then, for several years, the "Society of educators and teachers with free school collective lessons in science and mathematics, foreign languages, singing."

Among its lecturers are the physiologist Ivan Sechenov, the zoologist Mikhail Menzbir, and the entomologist Karl Lindemann. On March 5, 1880, a women's Sunday school, a library and a pedagogical museum were opened on charitable funds.

Since the late 1890s, the house has been converted into housing for wealthy tenants. The professor of philosophy, Prince Sergei Nikolaevich Trubetskoy, who lived here, visited the composer Alexander Skryabin.

In 1995, the house on Starokonyushenny was transferred on a long-term lease (for a period of 49 years) to the actor Alexander Shalvovich Porokhovshchikov, the great-grandson of Alexander Aleksandrovich Porokhovshchikov, and the grandson of his full namesake A. A. Porokhovshchikov, a famous Russian and later Soviet designer. The actor plans to create a museum of the Porokhovshchikovs here.

On the night of March 10, 2012, the wife of the famous actor Alexander Porokhovshchikov, Irina, committed suicide in the house on Starokonyushenny. The woman hung herself in the attic on a cord from an extension cord. She was 42 years old.

“I can't live without him. I just won't survive. I can't live without Sasha! "- said Irina before her death.

“Life is not the most important thing a person has. Much love is more important, faith, service " she tweeted four days before her death.

The housekeepers of Alexander Porokhovshchikov after the suicide of his wife told how the actor's family lived for the last six months before the tragedy. According to the servants, the old mansion where the family lived was haunted.

The Porohovshchikovs constantly lived in a mansion in Starokonyushenny Lane, and in the summer they moved to the dacha. Their other two apartments were empty. They were not going to give them up.

The girls say that it was very hard for them in this big house. At some point, both of them began to have visions. “We inadvertently decided that we were going crazy until we talked to Alexander Shalvovich,” says Marina. One day I went to pour water. I go to the bathroom and see the shadow of a girl.

I got scared, ran to Porokhovshchikov, told him about what I saw. And he is so calm: “What are you, Marina, afraid of? Yes, a girl flies here ... ”Later, Katya told me that she had observed the shadow of a girl on the sofa more than once. After that, I couldn't sleep there at all. Now I remember with horror how we spent the night there. The feeling of fear did not leave us for a minute. If Katya stayed there to sleep alone, she called me in tears: “Come, I can’t be alone in the house.”

When the girls told about their fears to the young mistress, she confirmed that she also felt someone's presence. And once she said a terrible phrase: "This house will take revenge on us, because it is alive - it takes everyone who lives here." By the way, her mother died in this house.

She said that many people died there. Allegedly, executions took place in the basement during the revolution. Aura is not good. Shortly before the tragedy, Irina told me: "This house takes everyone. But I can't escape from it, I'm drawn here!"

The history of this mansion is not simple: once distant relatives of Porokhovshchikov lived in it, then there were communal apartments, then a kindergarten ... Irina knew detailed history at home, but did not have time to tell her assistants.

Neighbors told us that this hut was built in the 19th century by the landowner Alexander Porohovshchikov. And that in this house his young wife died of an unknown disease.

The old mansion has a large number of rooms. There was the so-called mother's room, where Irina moved all the things from her old apartment, where she was born. In this room, she completely recreated the atmosphere of childhood. There were celebrated the birthdays of her parents, commemorations. According to the stories of housekeepers, only in this room the atmosphere was calm.

And here's another oddity: on the balcony, Irina made two so-called graves - one of her mother's, the other - in memory of the deceased dog, which was also called Auden. Ira poured earth from the churchyard into plates, hung grave wreaths nearby, and there were photographs here.

Every day, Irina lit candles on the balcony. “We told her - you can’t do this, it’s a bad omen,” the girls recall. In response, they heard: “I can’t always come to my mother’s grave, and in winter I can’t visit Auden’s grave. So I'm calmer. They are always with me."

“Irina promised to tell us the whole story of this house, but she didn't have time... A lot is connected with this house. In the early 90s, Porohovshchikov received from the Moscow government the right to rent it for 49 years. He loves this house very much, he wants to make a museum here and children's theater but it takes a lot of money...

You know, Irina was very worried when businessmen turned to Alexander Shalvovich with a request to rent out a basement to them in order to make a private dating club there, but simply a gay club.

They offered big money. Irina, threatening her husband with a divorce, insisted that these tenants no longer bother Porokhovshchikov. She was a very kind and sympathetic person and was very worried not only about her husband's health, but also about his reputation. Explained to him that even for the sake of big money do not agree to dubious projects”

Now, recalling good relations with the hostess, the girls note that they were connected by the most true friendship: “Our work faded into the background, we really became close people. And now, analyzing the situation, we understand that Irina did not need assistants - she did an excellent job with household chores herself.

She needed peace of mind. Yes, and this work was no longer so important to us, for which we received only 14 thousand rubles. We also fell in love with these people. Now we blame ourselves for not being with her at a difficult moment. After all, Irina recently repeated: “Strangers have become closer to me than relatives ...”. But it happened…”

- After the death of Irina, were you in their house?

- I don't even want to go there. Scary. We arrived, the house is sealed. They put flowers. You know, we still can't believe that Ira is gone. She was small, but very Strong woman. She was often told: “Why do you live with Porokhovshchikov?” But she couldn't help it. She needed this man.

She lived for him. We wanted to tell this whole story so that there were no omissions, in order to stop dirty rumors. We lived with this family for more than six months, all the events took place before our eyes. And we know for sure that they loved each other. We don't know what drove her to commit suicide.

Yes, Ira was afraid of losing him, she always kept saying: “I won’t live without him.” But how many people say that, we missed her words. As it turned out, in vain.

Based on materials from Runet, softmixer.com, FOX

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