In 1888, a graduate of the Imperial Academy of Arts Vladimir Beklemishev (1861-1920) received the right to an overseas pensioner's trip. During his stay in Italy, he created several sculptures. Among them - "the first Christian centuries" (1891, marble), "How fair, how fresh were the roses" (1892, marble, bronze), and "runaway slave" (1891, plaster, stained). Back in 1892 at home, Beklemishev showed Italian works in the exhibition at the Art Academy and was awarded for their academic titles. This was the beginning of a fruitful career of sculpture, left an imprint on Russian art history and became the mentor of an entire galaxy of talented artists, among them ST Konenkov and ASGolubkina. An outstanding representative of the Russian academic school of the late XIX century - Beklemishev which ST Konenkov called "the embodiment of the old Academy" was demanded my time and not forgotten in the XX century. Portfolio VA Beklemeshiva stored in the Russian Museum, Tretyakov Gallery, State Hermitage Museum and other museums in Russia.

In 2011, it will be 150 years since the birth of Vladimir Aleksandrovich Beklemisheva. In connection with the anniversary of the sculptor in the Russian Museum held a personal exhibition of the master. A member of the Russian Museum Natalia Logdacheva, to find his pensioner's work "runaway slave".

The history of this product Beklemisheva clearly traced to the 1920's. In 1893 a group of "runaway slave" represented Russian art at the World Columbian Exposition in Chicago (USA), marking the 400 anniversary of the discovery of America by Columbus. It is known that for a long time, the sculpture remained the property of the author, and in 1918 he gave his work a gift to the Academy of Arts. In 1920 the sculpture came to the Museum of the Revolution, which at that time had a room in the Winter Palace.

The directory "Sculpture and drawings of sculptors late XIX - early XX Century", published by the Tretyakov Gallery in 1977, the group was listed as a lost. Despite this Natalia continue to actively search, she turned to her and to the keeper of the Department of Russian Culture of the State Hermitage - Lina Tarasova. Therefore, seeing a sculpture found in the wall, Lina A. knew immediately that this is a godsend.

Surprisingly, the product of many years considered lost, was found miraculously on the eve of the anniversary of the sculptor. While it remains unclear why "runaway slave" was immured in a wall opening of the Winter Palace. This question has yet to find Answer. /www.hermitagemuseum.org

On the other hand, we know that the story of the Spassky Tower is connected to the icon of the Saviour Nerukotovornogo, brought to Moscow from the town Khlynova (Vyatka, now Kirov) under Tsar Alexei Mikhailovich. It was believed that this image was saved from Khlynov raging in Russia the Black Plague. Over the gateway through which the icon bring to the Kremlin, was placed her list - actually, while the tower and was renamed from Frolovskaya a Saviour. Saviour - a special type of icons, which represents only the face (roughly speaking, a person) of Christ. Accordingly, to any feet of the Saviour Sergius and Barlaam could not fall down, however, possible that this is just a figure of speech.

From the tower of St. Nicholas all more clear. It depicts Nicola MOZHAYSKY, fresco dates from the late XV - beginning of XVI century. During the fighting in October 1917, the Gate image of Saint Nicholas was riddled with bullets and shrapnel, but the face does not hurt that the believers Muscovites was seen as a miracle. Bishop of Geneva and the Western Michael gave the group dealing with the disclosure of icons, the photo image of the icon of St. Nicholas in St. Nicholas Tower, made after the bombing of the towers of the Kremlin and handed over by Patriarch Tikhon Admiral Kolchak. The image actually shows that one arm of Saint lost, but the overall image Nicholas survived.

It is worth noting that this is not only a wonderful story associated with the image of St. Nicholas on the Kremlin tower. Kibovsky told that during the War of 1812 the French during their retreat from Moscow tower blew up, its top collapsed, but the fault on the icon of the tower stopped, "then what many saw divine providence and an indication of loss of Napoleon's army in Russia." In addition, in late April 1918, before the first official celebration of proletarian May Day, the facade of the Nikolsky Gate was draped with red bunting. However, before the festival winds tore some cloths and opened the icon views.

According to Yakunin, look for the icon on the tower kiots decided in 2007, when it was received the blessing of Patriarch Alexy II. The work, however, started only in April 2009, when all questions have to agree with the SSF. Tender for sensing icon case has won the Interregional Scientific and restoration of art administration RF Ministry of Culture. According Kibovskogo, pits himself made him head Sergei Filatov - an outstanding expert in fresco painting, one of the best specialists in Europe. "

Past studies have confirmed that the icon-painting images are preserved under the plaster. It remains only to open the icon, reported that work should begin immediately after the May holidays, and end - before the onset of the rainy season, ie, by August. Yakunin confirmed that the images are going to look at other towers of the Kremlin - to start with the Saviour and St. Nicholas decided because there is safety icons were more likely.

Cyril tadpoles

http://www.lenta.ru/articles/2010/05/13/kremlin/