Ulitsa Malaya Molchanovka 1
Tel. (495) 691 5298
Subway: Arbatskaya
Open: 2pm- 6pm Wed, Fri
11am- 5pm Thu, Sat
/imagesCA8Y4DN8.jpg)
The Lermontov House Museum, officially known as the House-Museum of M. Yu. Lermontov, is a literary memorial museum dedicated to the life and works of the renowned Russian Romantic poet, writer, and painter Mikhail Yuryevich Lermontov (1814–1841). Located at 2 Malaya Molchanovka Street in central Moscow, it preserves the only surviving residence associated with the poet in the city. This single-story wooden mansion with a mezzanine, built in the Empire style, stands as a rare example of post-Napoleonic War architecture in Moscow and serves as a branch of the State Museum of Russian Literature named after V. I. Dahl. The museum highlights Lermontov's formative years in Moscow, where he transitioned from adolescence to literary prominence, producing some of his earliest significant works.
Origins and Early History of the House
The house
was constructed in 1814 by merchant Pyotr Chernov, shortly after the
devastating Fire of Moscow in 1812 during the French invasion. It was
built on the site of earlier structures destroyed in the blaze,
embodying the rapid reconstruction efforts in the city. The original
layout included the main wooden building and several outbuildings in the
courtyard: a kitchen, servants' quarters, stables, a coach house, an ice
cellar, and a barn. These elements reflected the typical setup of a
modest noble or merchant residence in early 19th-century Moscow.
From
1829 to 1832, the house was rented by Lermontov's maternal grandmother,
Elizaveta Alekseyevna Arsenyeva, from the merchant's widow, F. I.
Chernova. Arsenyeva, who raised Lermontov after his mother's early death
in 1817 and a family dispute with his father, chose this location for
its proximity to educational institutions. The poet, then a teenager,
moved here at age 15 to prepare for and attend the Moscow University
Noble Boarding School (a preparatory institution) and later Moscow
University itself. The yard and structures remained largely unchanged
until 1844, preserving the environment Lermontov knew.
After
Lermontov and Arsenyeva departed in 1832—following the poet's transfer
to St. Petersburg's School of Cavalry Junkers—the property changed hands
several times. In 1844, it was purchased by State Councillor V. M.
Tyutchev (no relation to the poet Fyodor Tyutchev), who added a utility
outbuilding in the northeastern corner of the courtyard and enclosed the
yard with firewalls on three sides for fire safety. From 1888 to 1897,
it belonged to lawyer A. A. Kotlyarov, and then to his son, attorney A.
M. Aristov. In 1907–1909, all wooden outbuildings were demolished and
replaced with a stone block along the northern wall, housing a new coach
house, privy, kitchen, and servants' quarters. These modifications
modernized the property while retaining the main house's core structure.
Following the 1917 Russian Revolution, the mansion was nationalized and
subdivided into communal apartments, with internal partitions added to
accommodate multiple families. This period marked a decline in the
building's condition, as it lost much of its historical integrity amid
Soviet-era urban development.
Lermontov's Time in the House: A
Period of Creative Awakening
Lermontov's three-year residence on
Malaya Molchanovka (1829–1832) was pivotal in his development as a
literary figure. At 15, he arrived in Moscow from his grandmother's
estate in Tarkhany (Penza region) to pursue formal education. He
enrolled in the Moscow University Noble Boarding School, where he
studied languages, sciences, and literature, and later entered Moscow
University's moral and political department in 1830 (though he left in
1832 due to academic and personal conflicts).
This era saw Lermontov
produce an astonishing volume of work: 17 poems, four dramas, and over
250 verses. Key creations included the tragedies Menschen und
Leidenschaften (People and Passions) and The Spaniards, the drama A
Strange Man, the third edition of the poem The Demon, Ismail Bey, and
the poem Portrait. It also encompassed the "Sushkov Cycle," a series of
romantic poems inspired by his infatuation with Ekaterina Sushkova, a
neighbor and socialite who initially rebuffed him but later became a
muse. Lermontov's time here solidified his decision to pursue
literature, influenced by Moscow's intellectual circles and his exposure
to Romanticism through figures like Byron (whom he admired and
emulated). The house's modest yet comfortable setting—featuring rooms
for family gatherings, personal study, and artistic pursuits—fostered
his early genius amid the bustling post-Napoleonic Moscow.
Of the
three Moscow addresses tied to Lermontov (his birthplace near the Red
Gate and a childhood home on Povarskaya Street), this is the only one
that survived 20th-century demolitions and reconstructions.
Efforts to Preserve and Establish the Museum
The house's survival as
a cultural site owes much to the advocacy of Soviet literary scholar and
television personality Irakly Luarsabovich Andronikov. In the 1930s,
amid Stalin-era urban planning that threatened many historic structures,
Andronikov recognized the building's significance and campaigned against
its demolition in 1938. His efforts saved it from being razed during
Moscow's reconstruction.
In 1941, Andronikov helped organize an
initial Lermontov exhibition in the house, drawing artifacts from
Moscow, Leningrad, the Caucasus, and even Hochburg Castle in Germany.
However, World War II halted these plans. A memorial plaque honoring
Lermontov was installed on the facade in 1954, marking the first
official recognition of its heritage.
Momentum built in the 1970s. In
1977, the Moscow Soviet of People's Deputies transferred the property to
the State Literary Museum. That year, Andronikov and a group of cultural
figures—including poet Pavel Antokolsky, literary scholars Emma Gerstein
and Tatyana Ivanova, actress Elena Gogoleva, actor Nikolai Pakhomov, and
architect V. M. Smirnova—published a letter in Literaturnaya Gazeta
advocating for a dedicated Lermontov museum. They emphasized the poet's
Moscow years as crucial to his legacy and Soviet literature.
Restoration began in 1979, stripping away communal partitions and
returning the interior to its 1830s appearance based on historical
records and contemporaries' accounts. The museum officially opened on
February 18 (or 19, per some sources), 1981, as a branch of the State
Literary Museum. In 1994, a monument to Lermontov by sculptor Alexander
Burganov and architect Mikhail Posokhin was erected nearby, enhancing
the site's commemorative value.
Major Restorations and Modern
Developments
The museum underwent a major renovation in 2013–2014,
timed to Lermontov's bicentennial (2014). This included replacing
supporting structures, restoring interiors, and installing multimedia
equipment for interactive exhibits. The project reconstructed the noble
household ambiance of the early 19th century, drawing on memoirs for
authenticity. It reopened on May 18, 2014, with expanded displays on
Lermontov's life, including his Caucasus experiences.
Exhibits
and Collections
The museum's exhibition spans several restored rooms
evoking 19th-century noble life, furnished with period antiques,
bas-reliefs, and Lermontov's artworks. Key spaces include:
Small
Drawing Room: For receiving guests, featuring a secretary desk with the
Athenaeum magazine (where Lermontov's poems first appeared) and his
watercolors, including childhood drawings.
Large Living Room: Used
for dinners and gatherings.
Lermontov's Room: Contains a bookcase,
family portraits, poem drafts (e.g., those for Sushkova), university
notes, and personal items.
Grandmother's Room: Reflects Arsenyeva's
influence on his upbringing.
The collection exceeds items like
Lermontov's 10-year-old painting Antique Scene, a portrait by an unknown
artist, university application signed by him, a portrait of Varvara
Lopukhina (another muse) as a Spanish nun, the painting Caucasian
Landscape from his military service, lifetime editions of A Hero of Our
Time with author notes, and Poems by M. Lermontov. Multimedia elements
provide deeper insights into his biography and oeuvre.
Events and
Cultural Role
Beyond static displays, the museum hosts exhibitions,
such as Lermontov the Artist and Lermontov in Moscow (2013–2014, later
touring internationally), and Feel Free to Believe That Forever...
Lermontov in Gloss (2016) on contemporaries' views of him. It organizes
reconstructions like the 2015 "Ball in a Russian Estate" with dances and
lectures on 18th–19th-century culture. Since 2015, it has held the
annual "Open Science" conference for young scholars on Lermontov-related
research.
The Mikhail Lermontov House-Museum, located at Malaya
Molchanovka Street, 2 in Moscow, is a branch of the State Literary
Museum (GMI RLI named after V. I. Dahl) and serves as a memorial to the
renowned Russian poet Mikhail Yuryevich Lermontov (1814–1841). Opened to
the public on February 19, 1981, following advocacy by literary scholar
Irakli Andronikov who saved the building from demolition in 1938, the
museum preserves the one-story wooden mansion with a mezzanine where
Lermontov lived with his grandmother, Elizaveta Alekseyevna Arsenyeva,
from 1829 to 1832. Built in 1814 by merchant Pyotr Chernov after the
Napoleonic invasion fire, the house underwent several ownership changes
and modifications, including additions in 1844 and a stone utility block
in 1909, before being restored to its early 19th-century appearance in
the late 1970s and further renovated in 2014 for Lermontov's 200th birth
anniversary. The exhibition emphasizes Lermontov's formative Moscow
period, during which he studied at the University Noble Boarding School
and Moscow Imperial University, began his literary career, and produced
over 250 poems, 17 long poems, four dramas, and other works, including
the "Sushkovsky cycle" inspired by his infatuation with neighbor
Ekaterina Sushkova. This era marked his transition from adolescence to
literary ambition, influenced by personal hardships like his mother's
early death and family disputes.
The museum's collection, amassed
from sources in Leningrad (now St. Petersburg), Moscow, the Caucasus,
and even Hochburg Castle in Germany, comprises over 15,000 items
(drawing parallels to larger Lermontov complexes like Tarkhany, though
focused here on the Moscow house). It includes manuscripts, lifetime
editions, artworks, personal belongings, and period furniture, displayed
across restored rooms such as the large and small living rooms,
Lermontov's bedroom and study, and his grandmother's bedroom. The
interiors recreate the 19th-century atmosphere with bas-reliefs on
walls, antique furnishings, and multimedia elements added in 2014 to
enhance visitor engagement. Below is a categorized overview of key
elements in the collection, highlighting their historical and literary
significance.
Manuscripts and Documents
A core strength of the
collection lies in original manuscripts and personal documents that
illuminate Lermontov's educational and creative journey. Notable items
include:
Application for admission to Moscow University (1830):
An original handwritten petition signed by the 16-year-old Lermontov,
stating his noble background, prior education at the University Noble
Boarding School, and desire to study in the moral and political
department. It reads in part: "I come from nobles, the son of captain
Yuri Petrovich Lermantov; I am 16 years old; studied at the University
noble boarding school in different languages and sciences... Mikhail
Lermantov put a hand to his petition." This document underscores his
self-supported enrollment on August 21, 1830, and his brief university
tenure, which ended in 1832 due to "family reasons" leading to military
service.
Petition for dismissal from Moscow University (1832): Paired
with the admission application, this reflects the disruptions in his
academic life, including involvement in the "Malov affair" scandal with
peers like Alexander Herzen.
Drafts of poems from the "Sushkovsky
cycle": Handwritten drafts dedicated to Ekaterina Sushkova, displayed on
the walls of Lermontov's room. These early romantic verses, written
during his Moscow years, reveal his youthful passions and poetic
experimentation.
Autograph of "Stanzas" (1830): A poem with a
marginal profile drawing of Sushkova, exemplifying his integration of
visual art and poetry.
"Listen! Remember Me…" (1831): A poem likely
composed while awaiting punishment after the "Malov affair," capturing
themes of reflection and resilience.
These items provide direct
insight into Lermontov's intellectual development and the personal
contexts shaping works like the third edition of "The Demon" and dramas
such as "People and Passion" and "Strange Man," all created in this
house.
Books and Lifetime Editions
The collection features
books from Lermontov's studies and rare published works, emphasizing his
literary output and influences:
Books with Lermontov's autographs
and notes: Housed in a bookcase in the poet's room, these include
university texts with marginalia, reflecting his studies in languages,
sciences, and politics.
Thoughts and Complaints of Dodd in Prison by
William Dodd (copy with inscription, 1830): Inscribed "To my dear friend
Andrey. M. Lermontov, 1830" for university friend Andrey Zakrevsky,
highlighting his social and literary networks.
Poems of M. Lermontov
(1840 edition): The only poetry collection published during his lifetime
(1,000 copies, St. Petersburg), containing 26 short poems and two long
ones ("The Novice" and "The Song of the Merchant Kalashnikov"). It opens
with "The Song of the Merchant Kalashnikov" and "Borodino," representing
a curated selection from his vast output of over 400 short and 30 long
poems.
Hero of Our Time (1840 and 1841 editions): The 1840 first
edition of his novel, published amid personal turmoil (including arrest
for a duel), with revisions by Lermontov; the 1841 edition includes a
preface and minor censor edits. Copies with author's notes are
displayed, illustrating the book's rapid sell-out and enduring impact.
Cepheus almanac: A journal from his boarding school circle, potentially
including unattributed works by Lermontov under pseudonyms like "N. N.,"
showcasing early collaborations.
Athenaeum magazine: Placed in a
secretary in the small drawing room, this periodical first published
Lermontov's poems, marking his entry into public literature.
Artworks by Lermontov
Lermontov was also a talented artist, and the
museum holds several of his visual works, often integrated with his
poetry:
Self-portrait: An original drawing or painting by
Lermontov, part of the collection of his artistic output.
"The
Antique Scene" (children's painting, circa 1824): Created at age 10,
this early watercolor demonstrates his precocious talent and is
displayed in the small drawing room.
"Caucasian Landscape": Painted
during his Caucasian War service, reflecting his later military
experiences and romantic fascination with nature.
Various watercolor
paintings and drawings: Hung throughout the house, including childhood
pieces in the small drawing room, blending his visual and literary
creativity.
Portraits and Images
Visual representations of
Lermontov and his circle add personal depth:
Portrait of the poet
by an unknown artist: A key exhibit offering a glimpse of his
appearance.
Family portraits: Original images of relatives, including
those of friends and family hung in Lermontov's room, providing context
for his upbringing under his grandmother's care after family tragedies.
Portrait of Varvara Lopukhina as a Spanish nun: Depicting a significant
romantic figure in his life.
Portrait of A. M. Vereshchagina (Hügel)
(1837): An associate from his era, held by the Russian State Literature
Museums.
Photographs and images of family and friends: Part of the
broader collection, enhancing biographical narratives.
Furniture
and Personal Belongings
Period pieces recreate the domestic
environment:
Antique 19th-century furniture: Including secretaries,
bookcases, and seating throughout the rooms, evoking the noble
household's daily life.
Bust of young Napoleon I: A sculpture
symbolizing historical influences on Lermontov, who was born during the
Napoleonic era.
Pen with iron nib: A writing tool representative of
his compositional process in the house where he decided on a literary
path.
Book of Fates (prop reconstruction): Used for a 1832 New Year's
masquerade where Lermontov posed as an astrologer, illustrating his
social whimsy.
Musical Instruments
Reflecting the cultural
pursuits of the time:
Violin from Germany (first half of the 19th
century): Indicative of musical activities in the household.
Russian
seven-string guitar (1820–1830): A period instrument, highlighting
recreational elements during Lermontov's youth.