Friday, August 10, 2007 00:12 + to quote book

I am adding this story to my diary today as a sign of fulfillment of a promise. Rusinka, after exchanging mutual comments in her diary on this topic, and also as a sign of my deep respect for many Russian people from the Sheremetev family. This post is long, but I didn’t want to tear it into parts. Patient and interested in Russian history (especially the history of patronage) and partly romance, I think he will not regret the time spent reading. If this story arouses interest in a narrow circle of my readers, then over time a continuation of the story about the glorious Sheremetev family will appear here
Why did I decide to post this story in my diary today, August 9?
It was compiled by me exactly a year ago.

On this day 255 years (now 256 years) ago, Count Nikolai Petrovich Sheremetev, a brilliant and versatile educated man, was born.

Being one of the richest nobles, he was a generous benefactor of that era, so far from us. A little about the ancestors of Count N.P. Sheremetev:
The roots of the Sheremetev family go deep into the history of Russia. Together with the Golitsyns, the Sheremetevs elevated the young Mikhail Romanov to the throne in 1612. Nikolai Petrovich's grandfather, Boris Petrovich Sheremetev (1652-1719), is a famous field marshal and associate of Peter I. Father, Pyotr Borisovich Sheremetev (1713-1788), is a general, senator, chamberlain, who spent a lot of effort and money on creating a unique Kuskovo in the Moscow region palace ensemble.

I. Argunov. Portrait of Count Pyotr Borisovich Sheremetev. 1760

Kuskovo

Count Nikolai Petrovich Sheremetev was born on June 28, 1751 in St. Petersburg. Young Nikolai Sheremetev, like all his famous ancestors, was closely connected with the ruling dynasty - he grew up and was brought up together with the future Emperor Paul I, was with him in great friendship. Many years later, Nikolai Petrovich would be one of the last to see Paul I on the eve of his tragic death in the Mikhailovsky Palace.

N. Argunov. Portrait of Count N.P. Sheremetev. 1798

At the age of eight, Sheremetev, according to tradition, was recorded as a sergeant and then lieutenant of the Preobrazhensky Life Guards Regiment.
The Count received an excellent education. There is a well-known document called “Plan for the education of a young gentleman. Composed for the young Count Sheremetev, the only son of His Excellency Count Sheremetev, by Yakov Shtelin in the winter of 1764.”

Kuskovo Estate

The education plan included the study of many disciplines: from the Law of God to international commerce. Sheremetev studied history, mathematics, geography, biology, astronomy, engineering, fortification, artillery, military regulations, heraldry, ceremonial art, and studied dancing, music, and dressage.

View of the Kuskovo estate

In addition, the plan was supposed to help the count develop good taste for judgments about works of painting, sculpture, architecture and art.

Family of serf artists

Family Art Gallery in Kuskovo

As a result, Sheremetev grew up and was brought up in a special atmosphere, receiving serious musical education: he professionally played the piano, violin, cello, read scores, directed an orchestra, and participated in amateur performances in the palace and on his estates.

Fragment of the interior of the palace. Kuskovo

In 1769, the count went on a long trip to European countries.

Moscow outpost. 18th century engraving

The goal is to study at Leiden University (Holland). While traveling, Sheremetev meets Handel and Mozart (the latter, by the way, even helps him financially). He is presented to the courts of Prussia, France and England.
Upon returning to Russia it begins successful career Sheremetev at court. In 1774, twenty-three-year-old Sheremetev was promoted to chamberlain, in 1777 he was elected Moscow district marshal of the nobility, and in 1786 he was appointed privy councilor and senator. Empress Catherine II loves and visits the Sheremetev estates more than once, especially Kuskovo.

Interior of the palace in Kuskovo

With the accession of Emperor Paul I in 1896, Count Sheremetev became one of the highest-ranking officials of the court - Chief Marshal, led all ceremonial processions and had lunch and dinner with the emperor almost every day.

In the Kuskovo Palace

In 1799 he was appointed director imperial theaters, then director of the Corps of Pages.
Nikolai Petrovich had a reputation famous expert architecture and was a major construction customer.

View of the village of Ostankino. Unknown artist

Over the course of two decades, with his participation and at his expense, a theater and palace complex in Ostankino, theater buildings in Kuskovo and Markovo, houses in Pavlovsk and Gatchina, the Champetre manor and the Fountain House in St. Petersburg were built.

No less important is the role of Sheremetev in the construction of churches: the Church of the Sign of the Mother of God in the Novospassky Monastery, the Trinity Church at the Hospice House, the temple in the name of Dmitry of Rostov in Rostov the Great and others.

Fragment of the interior of the estate in Ostankino

Count Sheremetev went down in the history of Russian culture as an outstanding theatrical figure, creator of one of the the best theaters in Russia. On his estate, in Kuskovo, the count created a theater school, where he taught acting to his serfs.

N. Argunov. Portrait of a boy from the Sheremetev family. 1803

The main actress of the theater, the “culprit” of its unprecedented fame, was Praskovya Kovaleva-Zhemchugova (1768-1803), the daughter of an ordinary village blacksmith.

If you wish, read the continuation of the story in the comments.

Since ancient times, among the representatives of the highest Russian aristocracy there were philanthropists who contributed to the development Russian art. Their activities gave the opportunity to reveal many national talents, which contributed to the rise of the country’s spiritual life to a new level. Among them was Count Nikolai Petrovich Sheremetev, whose biography became the basis for writing this article.

Heir to untold riches

Nikolai Petrovich Sheremetev was born on July 9, 1751. By the will of fate, he became the heir to one of the richest and most noble noble families Russia. His father, Pyotr Borisovich, the head of the Sheremetev family, became the owner of one of the largest fortunes in the country, having advantageously married the daughter of a prominent statesman, Chancellor of Russia, Prince A. M. Cherkassky.

At one time he was widely known as a philanthropist and patron of the arts. The most valuable collections of paintings, porcelain and jewelry were kept in those belonging to Pyotr Borisovich and Moscow. However, his main glory was home theater, whose performances even members of the reigning House sometimes did not hesitate to attend.

Growing up in a family where performing arts was perceived as one of higher manifestations spirituality, his son Nikolai with early years fell in love with the stage and at the age of 14 he already made his debut, performing the role of the god Hymen. Together with him, his friend, the heir to the throne, Tsarevich Pavel, took part in the performances of his father’s theater.

Foreign voyage of the young count

In 1769, Nikolai Petrovich Sheremetev went to Europe, where, as a representative of the noblest and richest Russian family, he was presented at the courts of France, Prussia and England. He completed his journey in Holland, where he entered one of the most prestigious educational institutions at that time - Leiden University.

But the young count devoted his time to more than just academic disciplines. Moving in the highest circles of European society, he personally met many advanced people that era, among which were famous composers Handel and Mozart. In addition, taking advantage of the opportunity, Nikolai Petrovich thoroughly studied theater and ballet art, and also improved in playing the piano, cello and violin - instruments that he had studied since childhood.

Departure to Moscow

Upon returning to Russia, Nikolai Petrovich Sheremetev was appointed director of the Moscow Bank and was forced to change ceremonial St. Petersburg to quiet and patriarchal Moscow. It is known that Empress Catherine II, fearing the possibility of a coup d'etat, under plausible pretexts removed all friends and possible accomplices of her son, Tsarevich Paul, from the capital. Since Sheremetev had a long-standing friendship with the heir to the throne, he also became one of the undesirable persons at court.

Finding himself in this “honorable exile,” Nikolai Petrovich did not consider himself deprived of fate, but, taking advantage of the opportunity, began construction of a new theater premises in the Moscow region. family estate Kuskovo. From that time on, the Sheremetevs' serf theater began to give performances on two stages - in a previously erected extension to their house on Nikolskaya Street and in a newly built building in Kuskovo (photo of the latter is placed below).

Fortress Theater of Count Sheremetev

According to contemporaries, the level of productions of the Sheremetev troupe could not be rivaled by the performances of any serf theater in Russia in those years. Thanks to the knowledge acquired abroad, Nikolai Petrovich was able to provide high artistic design for performances, as well as create a professional orchestra. Particular attention was paid to the composition of the troupe, recruited from the serfs who belonged to him.

Having recruited artists from among the most gifted peasants, the count spared no effort and money in teaching them stage skills. They signed up as teachers professional actors Imperial Petrovsky Theater. In addition, Count Nikolai Petrovich Sheremetev sent the newly minted actors to study at his own expense not only in Moscow, but also in St. Petersburg, where, in addition to the main disciplines, they studied foreign languages, literature and poetry.

As a result, the entire aristocratic Moscow, as well as guests from the capital, including members of the reigning family, came to the performances of the Kuskovsky Theater, which opened in 1787. The popularity of his troupe was so great that the owners of other private Moscow theaters complained to the mayor that for the sake of his amusement, the count - a man already fabulously rich - was taking away their audience and depriving them of income. Meanwhile, for Nikolai Petrovich, serving Melpomene was never fun. Now the theater became the main thing of his life.

The Earl's architectural heritage

Another hobby of Count Sheremetev was architecture. Having sufficient funds, over two decades he built many buildings recognized as true masterpieces of Russian architecture. Among them are theater and palace complexes in Ostankino and Kuskovo, houses in Gatchina and Pavlovsk, the Hospice House in Moscow (photo above), the Fountain House in St. Petersburg and a number of other buildings, including several Orthodox churches.

Period of royal favors

A sharp turn in the count's life came in 1796, when, after the death of Catherine II Russian throne her son Pavel took over. Feeling sincere affection for Sheremetev, as a friend of his childhood, one of his first decrees granted him the rank of chief marshal and thus introduced him to the number of the most influential state dignitaries.

From then on, orders, titles, privileges, gifted estates and other royal favors rained down on him one after another. Since 1799, he has been the director of the imperial theaters, and after some time - the head of the Corps of Pages. However, during these years Sheremetev tried to achieve something completely different from the emperor, and this is exactly what the subsequent story will be about.

Love for a serf actress

The fact is that at the age of 45, Count Nikolai Petrovich Sheremetev was not married. Possessing a colossal fortune, which made him richer than the emperor himself, and excellent appearance, the count was the most eligible bachelor in Russia, a marriage with which many brides from upper strata society.

However, the count's heart was firmly occupied by the serf actress of his theater, Praskovya Zhemchugova. Possessing amazing natural beauty and a wonderful voice, she nevertheless remained in the eyes of society just a serf girl - the daughter of a village blacksmith.

Once in childhood, the count noticed this vocal girl and, giving her a decent upbringing, made her a first-class actress, whose talent was tirelessly applauded by the most discerning spectators. Her real name- Kovaleva, Zhemchugova was made by the count himself, considering such a stage name more sonorous.

Obstacles to marriage

However, existing traditions did not allow them to legitimize the relationship. From the point of view of the aristocracy, it is one thing to enjoy the singing of a serf actress, and quite another to allow her to enter high society, recognizing her as an equal. The protests of the count’s numerous relatives, who saw Praskovya as a contender for the inheritance, also played an important role. It is interesting to note that in that era people acting profession in general they had such a low status that it was even forbidden to bury them in the church fence.

Of course, in such a situation marriage was impossible. The only way out of this situation could be given by the highest permission, for which Sheremetev personally addressed the emperor, hoping that Paul I would make an exception for him from general rule. However, even the memory of childhood friendship did not force the autocrat to violate the order that had been established for centuries.

Desired but short-lived marriage

Only after the assassination of Paul I by the conspirators The count managed to carry out his plan by forging the documents of his bride, as a result of which Praskovya Zhemchugova began to be listed as the Polish noblewoman Paraskeva Kovalevskaya. Alexander I, who succeeded his father on the throne, gave Sheremetev consent to the marriage, but even in this case the wedding was secret, taking place on November 8, 1801 in one of the small Moscow churches.

In 1803, a son was born into the Sheremetev family, who received the name Dmitry in holy baptism. However, the father’s joy soon turned into sorrow: twelve days after the birth of the child, his wife Praskovya died, having never been able to recover from childbirth.

Construction of the Hospice House

Since ancient times, the following custom existed in Orthodox Rus': when a loved one died, to repose his soul, spend money on charitable deeds. Voluntary donations could be different - everything depended on material capabilities. Sheremetev, in memory of his deceased wife, built a Hospice House in Moscow, in the premises of which today the Research Institute of Emergency Medicine is located. Sklifosovsky (photo No. 4).

Work on the construction of this building, well known to Muscovites, was carried out under the leadership outstanding architect Italian origin - Giacomo Quarenghi, who was a passionate admirer and connoisseur of the talent of the late actress. Created exclusively for poor and disadvantaged people, the Hospice House was designed to accommodate 50 patients receiving inpatient treatment, as well as 100 “suspected”, that is, beggars who had no means of subsistence. In addition, there was also a shelter for 25 orphan girls.

To ensure financing for this institution, the count deposited capital sufficient for those times into the bank account, and also assigned several villages with serf souls for the maintenance of the Hospice House. In addition to direct expenses, from these funds, according to the count's will, it was necessary to help families in trouble and annually allocate certain amounts for dowries for low-income brides.

The end of the count's life

Nikolai Petrovich died on January 1, 1809, outliving his wife by only six years. Last years he spent his life in his St. Petersburg palace, known as the Fountain House (photo that concludes the article). His ashes, resting in the Sheremetevskaya tomb of the Alexander Nevsky Lavra, were interred in a simple plank coffin, since the count bequeathed all the money allocated for the funeral to be distributed to the poor.

Sheremetyev Nikolay Petrovich

The noble Sheremetyev family, which began its existence since the time of Peter I, was continued by a worthy representative. Highly educated, with exquisite taste, collector, philanthropist, patron of the arts Nikolai Petrovich Sheremetyev. It is thanks to such people who, in addition to enjoying power, do so much for the state and its glory, that Russia is known. It was they who left us unforgettable architectural monuments, magnificent collections of paintings, jewelry and even handkerchiefs. Their names are combined with their deeds, so significant that the memory of them goes down through the centuries.
Biography of Nikolai Petrovich Sheremetyev - young years.
The little count was born on June 28, 1751 in St. Petersburg. He was brought up at court with the future Emperor Paul I. He was friends with him, thanks to this he subsequently had many privileges, but also suffered from the whims of this unbalanced man. He was one of the last to see him alive on the eve of the murder in Mikhailovsky Castle. Since childhood he performed in his father’s home theater, at the age of 14 he performed the role of the god Hyminaeus, which had previously been performed by Pavel.
The young count received an excellent education, there was even a document, a kind of educational program called “Plan for the Education of a Young Gentleman.” It was compiled by his teacher Yakov Shtelin in the winter of 1764.
In 1769, the count went to study at one of the most prestigious educational institutions - Leiden University in Holland. In addition to his studies, he masters theater, stage, decorative and ballet arts. Communicates in the highest circles of European society, meets Mozart and Handel. It was presented to the courts of England, France and Prussia. Among his talents is also professional playing of musical instruments such as violin, cello, piano, he knew how to read scores and conduct an orchestra.
Biography of Nikolai Petrovich Sheremetyev - mature years.
Returning to Moscow after such a busy business trip abroad, Sheremetyev received the position of director of the Moscow Bank and began construction of a theater, since the extension to his own house turned out to be too small for his grandiose plans. Therefore, he built a new building in Kuskovo. His theater was distinguished by well-chosen scenery, an excellent orchestra and, of course, actors. He gave the troupe of serfs hastily selected by his father for training to artists of the Petrovsky Theater specially assigned for this purpose. The new Kuskovsky Theater was opened in 1787 and enjoyed enormous popularity; all the nobility of Moscow came to its performances. Having entered into inheritance rights, he begins a new construction project, this time in Ostankino. The count's ability to discover talent in his serfs is simply amazing. The building was built by serf architects Count A. Mironov and P. Argunov according to the designs of Camporesi, Brenna and Starov. Argunov subsequently immortalized the memory of Sheremetyev by painting portraits of himself and Praskovya Kovaleva (Zhemchugova). By the way, one of his serf talents was violin maker I. A. Batov, whose instruments are rightfully compared to the works of such masters as Guarneri and Stradivari. The master made all the instruments with the permission of the master and only for musicians.
But let's return to the theater. The building was completed and made in such a way that in just an hour the stage turned into a ballroom. The construction technique can be appreciated by us even today; in terms of acoustics, this stage is still one of the best in Moscow. The premiere took place on July 22, 1795. The heroic opera “The Capture of Ishmael” was prepared for the opening. The troupe became the best among the serfs at that time, eclipsing even the theater of Count Vorontsov.
In 1796, significant changes occurred in the biography of Count Sheremetyev.
Childhood friend Paul I sits on the throne. Nikolai Petrovich becomes chief marshal and one of the most influential people in the country. In 1799 he was appointed director of the imperial theaters, and then director of the Corps of Pages.
As an artistic person, he could not help but glorify himself with a sensual story in his biography. And there is such a story. The love of his life was a serf, the daughter of a blacksmith, a beautiful actress of his theater, Praskovya Kovaleva-Zhemchugova (Sheremetyev gave his actors surnames after the names of his precious stones). Many beauties of noble families burned with envy and hatred of the poor girl. After all, such a promising groom was leaving their hands. Even the construction in Ostankino, to some extent, was provoked by the fact that Nikolai Petrovich wanted to hide somewhere from the noise with his beloved secular society
. The color of the façade, “the color of a nymph at dawn,” seemed to speak of purity and detachment.
The count sought permission to marry Praskovya from Emperor Paul in every possible way, which he promised him. And now, finally, a reception in Ostankino, where official permission will be given. Everything was arranged simply superbly, there were special effects with trees cut down along the road in advance, as if falling prostrate before the emperor, a theater building suddenly appearing and a lot of lights. Then the famous play “Samnite Marriages”. Parasha Zhemchugova in the title role made a huge impression on Pavel. But Sheremetyev did not dare to ask permission for marriage from the eccentric emperor; he was afraid of refusal, knowing his character.
They got married secretly on November 8, 1801 in the Moscow Church of Simeon the Apostate. The newlyweds did not live long. Zhemchugova dies in 1803, leaving behind a baby son, begged from God. At the funeral, despite the invitation, there were no noble families.
The count himself died in 1809. His last good deed, discussed with Parasha, was the Hospice House for “every class of poor and crippled.” Nowadays this building houses the Moscow Institute of Emergency Medicine named after.

N.V. Sklifosovsky and the Museum of the History of Medicine. Look

© all portraits

Mother:

Awards and prizes: Graph Nikolai Petrovich Sheremetev

(1751-1809) - head of the Sheremetev family, son of Count Pyotr Borisovich; patron of the arts, philanthropist; musician. Chief Chamberlain, Actual Privy Councilor, Senator, Director of the Moscow Noble Bank, founder of the Hospice House in Moscow and the Nevsky Almshouse in St. Petersburg.

Biography Received home education . In 1761 he was granted the rank of chamber cadet and next year

accompanied by V. G. Wroblewski, he went on a four-year trip abroad; visited Holland (listened to lectures at Leiden University), England, France (studied cello with the Parisian musician Ivar), Switzerland and Germany and, upon returning to Russia, again took a court position, reaching the rank of chief chamberlain in 1798.

After retiring in 1800, he settled in Moscow in a block along Vozdvizhenka, which he bought from his brother-in-law A.K. Razumovsky. On June 28, 1794 he was awarded the Order of St. Alexander Nevsky. On February 1, 1797, he was awarded the Order of St. Andrew the First-Called. In 1797, Sheremetev moved to St. Petersburg - to the Fountain House. On November 6, 1801, he married his serf actress P.I. Zhemchugova-Kovaleva, to whom he gave his freedom back in 1798. On February 3, 1803, their son Dmitry was born, and Praskovya Ivanovna died three weeks later, on February 23, 1803.
After the death of his wife, Nikolai Petrovich Sheremetev, fulfilling the will of the deceased, devoted his life to charity. According to Praskovya Ivanovna’s will, he donated part of the capital to help poor brides and artisans, and also began construction of the Hospice House in Moscow, opened after the death of its founder, in 1810. By decree of April 25, 1803, Emperor Alexander I ordered that Count Nikolai Petrovich be given general meeting Senate gold medal with his portrait on one side and the inscription on the other: “as a pledge of universal gratitude for such an elegant act and so that its memory is preserved and unforgettable in posterity”, and, in addition, awarded him the Order of St. Vladimir, 1st degree.

In addition, Sheremetev’s funds were used to build a theater and palace complex in Ostankino, theater buildings in Kuskovo and Markovo, houses in Pavlovsk and Gatchina, the Champetre manor and the Fountain House in St. Petersburg. No less important is the role of Sheremetev in the construction of temples: the Church of the Sign of the Mother of God in the Novospassky Monastery, the Trinity Church at the Hospice House, the Demetrius Cathedral of the Spaso-Yakovlevsky Monastery in Rostov the Great and others.

He was buried in St. Petersburg in the family tomb of Counts Sheremetev in the Alexander Nevsky Lavra.

Sheremetev Theater

Initially, the performances of the Sheremetev Theater were given on two stages - the city stage (in a theater wing specially attached to the Sheremetevs' Moscow house on Nikolskaya Street) and the estate stage - in Kuskovo, where training was organized for serf actors, the number of whom reached 95 people. Talented serf musicians and artists of the Sheremetev Theater studied in St. Petersburg and Moscow.

In 1804, the serf theater of Count N.P. Sheremetev ceased to exist.

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Notes

Literature

• // Russian biographical dictionary: in 25 volumes. - St. Petersburg. -M., 1896-1918.
• The fate of talent. Theater in pre-revolutionary Russia. Comp., intro. Art. and comment. L. V. Mankova. - M., Pravda, 1990. - ISBN 5-253-00109-3
• Douglas Smith The Pearl. A True Tale of Forbidden Love in Catherine the Great’s Russia (New Haven, Yale University Press 2008).
• Rogov A. Sheremetev and Zhemchugova. - Vagrius, 2007.

Links

An excerpt characterizing Sheremetev, Nikolai Petrovich

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Returning to the guardhouse, Petya found Denisov in the entryway. Denisov, in excitement, anxiety and annoyance at himself for letting Petya go, was waiting for him.
- God bless! - he shouted. - Well, thank God! - he repeated, listening to Petya’s enthusiastic story. “What the hell, I couldn’t sleep because of you!” Denisov said. “Well, thank God, now go to bed.” Still sighing and eating until the end.
“Yes... No,” said Petya. – I don’t want to sleep yet. Yes, I know myself, if I fall asleep, it’s over. And then I got used to not sleeping before the battle.
Petya sat for some time in the hut, joyfully recalling the details of his trip and vividly imagining what would happen tomorrow. Then, noticing that Denisov had fallen asleep, he got up and went into the yard.
It was still completely dark outside. The rain had passed, but drops were still falling from the trees. Close to the guardhouse one could see black figures of Cossack huts and horses tied together. Behind the hut were two black wagons with horses standing, and in the ravine the dying fire was red. The Cossacks and hussars were not all asleep: in some places, along with the sound of falling drops and the nearby sound of horses chewing, soft, as if whispering voices were heard.
Petya came out of the entryway, looked around in the darkness and approached the wagons. Someone was snoring under the wagons, and saddled horses stood around them, chewing oats. In the darkness, Petya recognized his horse, which he called Karabakh, although it was a Little Russian horse, and approached it.
“Well, Karabakh, we’ll serve tomorrow,” he said, smelling her nostrils and kissing her.

The Sheremetev count family is one of the most noble and richest in Russia XVIII century. The Sheremetevs were known as statesmen, builders of temples, wealthy patrons of the arts, helping the poor and sick, encouraging the development of national architecture, art, and music. Their home theater was considered the best private theater in the empire; its owners spared neither money nor labor in staging performances and creating scenery. The Sheremetev Theater was distinguished not only by its professional, educated and talented actors and singers, but also with a meticulously calculated layout of the hall, luxurious decorations and excellent acoustics. Many who visited Kuskovo in those days noted that the scope of the performances and the professionalism of the actors were in no way inferior to the most famous palace theater in the Hermitage.

The Sheremetevs believed that real actors should be raised by patiently training them from childhood. Thus, Parasha Kovaleva (1768-1803), the daughter of a serf blacksmith, ended up with other children on the count’s estate when she was barely eight years old. She was immediately given to be raised by the lonely princess Marfa Mikhailovna Dolgorukaya. The girl received an education from the princess, was trained in vocals, acting, playing the harp and harpsichord, French and Italian, literature, literacy and some sciences. Famous masters—actors, singers and teachers—came to the estate to prepare children for theatrical life. More and more often they noted the excellent abilities of little Parasha and predicted a great future for her.

At the same time, the son of the owner of the house, Pyotr Borisovich Sheremetev, Nikolai Petrovich Sheremetev (1751-1809), traveled around Europe in order to improve his education. Having absorbed the revolutionary ideas that reigned there, he immediately decided to change the life of Kuskovo and organize it according to European canons. The first thing the young man took on was the premises of his father’s theater, which seemed to him old and too cramped.

It was then, watching the progress construction work, Nikolai Petrovich saw a shy ten-year-old girl with huge eyes on a pale face, and when he got to know her better, he felt the extraordinary talent of the little serf.

In the new theater, the girl made her debut in the role of a maid from Greteri’s opera “The Experience of Friendship.” With her delightful soprano, Parasha captivated all the spectators, not leaving the owner’s son indifferent. Nikolai was so pleased with the debut of the little actress that in the next opera he gave her main role and never for a moment doubted its success. It was then that the girl’s theatrical pseudonym, Zhemchugova, first appeared on posters. Since then the most best roles in the Sheremetyevo theater only young Parasha got it.

The Sheremetevs treated the actors with respect and reverence. They were called by name and patronymic; Count Sheremetev Jr. gave his actors new surnames by name precious stones. Legend has it that the Pearl Parasha was named on the day when a small pearl was found in the estate pond. All actors and musicians of the theater were paid a salary, they were prohibited from any physical work, they ate the same as the owners of the estate, and the best local doctors were invited to see those who were sick. All this surprised the noble visitors to Kuskovo, and for a long time the order in the “strange” family was one of the most interesting topics at social evenings in the capital.

Rumors about the Sheremetev Theater spread throughout all the estates, noble people came to Kuskovo for each performance, and those who did not get to see the performance then lamented for a long time and listened to the vivid stories of those who saw the next production.

The old count decided to build a new theater building, the opening of which was to take place on June 30, 1787, the day when Catherine P. herself intended to visit the Sheremetev estate. Famous theater, and especially the performance and voice of the young actress Praskovya Zhemchugova, so impressed the queen that she decided to present the girl with a diamond ring. From now on, the young serf Parasha became one of the most famous actresses in Russia.

On October 30, 1788, Pyotr Borisovich Sheremetev died. All estates with serfs of two hundred thousand souls went to his son, Nikolai Petrovich. After the death of his father, he forgot about the theater, drank and rioted, trying to distract himself from grief. Only Parasha was able to console the young count and with sympathy and endless kindness brought him out of his spree. After this, Nikolai Petrovich looked at the girl differently: a huge, strong feeling. Zhemchugova became the second person in the theater, the actors now addressed her only as Praskovya Ivanovna.

Soon the lovers and the entire theater troupe moved to the count's new estate - Ostankino. Suddenly, Parasha developed tuberculosis, and doctors forever forbade her to sing. The Count's tender care, his patience and love helped the woman survive this grief, and on December 15, 1798, Count Sheremetev gave freedom to his most beloved serf actress. This bold step caused bewilderment and gossip in noble circles, but the count did not pay attention to the slander. He decided to marry his beloved. On the morning of November 6, 1801, in the church of St. Simeon Stolpnik, which is now located in Moscow on Novy Arbat, a scandalous wedding took place. The sacrament was performed in the strictest confidence; only the four closest and most faithful friends of the young couple were invited to it.

This marriage lasted two years in respect, mutual understanding and love. Parasha's health deteriorated every day. On February 3, 1803, Praskovya Ivanovna gave birth to a son. The birth was difficult and painful, and the woman’s body, weakened by consumption, did not even allow the woman to get out of bed. Mortally ill, she begged to see the child, but he was immediately taken away from his mother for fear that the baby would become infected and die. The countess was fading away for about a month. In her delirium, she begged to be allowed to hear the baby’s voice, and when he was brought to the bedroom door, Parasha calmed down and fell into a heavy sleep.

Realizing that his wife’s death was inevitable, Nikolai Petrovich decided to reveal his secret and talk about his marriage to a former serf. He addressed a letter to Emperor Alexander I, where he begged to forgive him and recognize the newborn as the heir of the Sheremetev family. The Emperor gave his highest consent to this.

The beloved wife of Count Sheremetev died in the St. Petersburg Fountain House on February 23, 1803, on the twentieth day from the birth of her son. She was only thirty-four years old. No one from the nobility came to the funeral - the gentlemen did not want to recognize the late serf countess. IN last way Parasha was seen off by actors, theater musicians, estate servants, serfs and a man, gray with grief, holding a baby in his arms.

Now Praskovya Ivanovna Zhemchugova-Sheremeteva rests in the Alexander Nevsky Lavra in the family crypt of the Sheremetev counts.

She bequeathed all her personal funds and jewelry to orphaned children and poor brides to buy a dowry. Nikolai Petrovich strictly monitored the implementation of the will and until the end of his life he constantly helped the crippled and disadvantaged. In his Moscow palace, he founded the famous Sheremetev Hospital, which is now better known as the Institute of Emergency Medicine named after. Sklifosovsky. Nikolai Petrovich Sheremetev died six years after his wife.

In his “Testamentary Letter” to his son, the count wrote about Praskovya Ivanovna: “... I had the most tender feelings for her... observing her mind adorned with virtue, sincerity, philanthropy, constancy, fidelity. These qualities... forced me to trample on secular prejudice in the discussion of the nobility of the family and choose her as my wife...”