In life, there are a huge number of situations, things, or people that do not suit us for a long time. Perhaps this is a relationship that has long been a burden. This is a job that has been boring for a long time. These are people who constantly fail, thoughtlessly and hopelessly ... But for some unknown reason, we often cling to the side of a sinking ship in the hope that it might someday float, wasting the remaining nerves, time, and money on it.

Of course, at some point you need to show perseverance and not give up. "Patience and work, they will grind everything," but only when you set a reasonable framework: how much it will cost you and by what time do you plan to get the result. Theoretically, you can find gold jewelry in the garbage, but to find them, you need to dig in the garbage for years. Will you take on this project? Show persistence? - You should not do this, this is no longer stubbornness, but stupidity.

If you realized that the relationship has outlived its usefulness, theoretically you can squeeze something out of them for years, but in fact it is digging in the garbage in the hope of finding gold jewelry there. An ancient Indian proverb puts it briefly: The horse is dead - get off it!

But, of course, you can still restrain yourself. Then we start doing the following things:

We tie beautiful bows to the dead horse.
We suggest treating dead horse racing as a temporary compromise solution.
Declaring a dead horse as a family member and advocating support for family values.
We declare that it is not politically correct to call a dead horse dead.
We declare that refusal to ride dead horses is discrimination against dead horses.
We buy golden horseshoes for a dead horse.
We sign up for courses on the revitalization of dead horses.
Threaten a dead horse with a drop of nicotine.
We loudly sort out the relationship with the dead horse.
We persuade a dead horse not to be dead.
We provide anti-crisis financing for dead horses.
We conduct large-scale studies of the phenomenon of a dead horse.
We poll public opinion about whether this horse is dead.
We are writing technical regulations that establish the criteria for the degrees of deadness for horses.
Trying to swap two dead horses and see what happens.
We say that we have always rode like this - on dead horses ...
We invent devices for a dead horse that imitate its running.
We assure you that automation and computerization will revive the dead horse.
Setting up dead horse museums.
We proclaim that a dead horse is "better, faster, cheaper."

We do all this instead of going and finding ourselves another horse. It's probably stupid after all. New relationships and new people in your life will only appear when you free yourself from the old. Don't revive a dead horse, start creating new life!

Source: www.psychologos.ru

In Asia, carts have been used for a long time, simultaneously with riding and pack animals. The Greeks in Homer's time used chariots. The details of the construction of the ancient carts remain unknown; only the external form of two-wheeled war chariots is well depicted in many surviving bas-reliefs and other images.

UNGEWITTER, HUGO (1869-c.1944)
A Noblewoman Alighting her Carriage, signed and dated 1906.

There is no doubt, in view of many places of ancient authors, that wheeled carts have long been used for the transportation of goods. So, Homer narrates that Nazikaya asked her father for a cart to take with her friends to the seashore to wash clothes. There were two- and four-wheeled carts of this kind: Pliny ascribes their invention to the Phrygians. The wheels of such a "plaustrum" were firmly mounted on axles, which spun with them, like our railway cars, in bearings fixed to the body. Such carts, very clumsy, still exist on the island of Formosa.

TSERETELLI, ZURAB (B. 1934).

The ancient Persians had a properly organized post chase; tsarist messengers quickly delivered orders to other ancient states, but more about the properly organized transportation of passengers on horseback is known in more detail only since the time of the Romans. This kind of carriage was supported by private people (the crew; "cisium") was two-wheeled, with a drawbar, like a convertible, but without springs, with a seat suspended from belts. They climbed into it from the side of the horses, and not from behind, as in chariots; images of cisium are already found on Etruscan vases. They traveled in such carriages very soon: according to Suetonius' testimony, the emperor traveled in the lungs "meritoria vehicula" distances up to 150 in. per day.

V. Serov. Odysseus and Nausicaä

We have much more information about the ceremonial carriages of the Romans. Among the ancients, in general, the use of ceremonial chariots was the privilege of high-ranking officials and priests; images of the gods during processions were also carried in special chariots. Individuals appropriated this right to themselves only during the decay of morals, and under the empire they decorated their carriages with all possible luxury. The most ancient type is "arcera", it is mentioned in the laws of the twelve tables; it was a four-wheel open bogie; for women it was made on two wheels. Equally ancient are the stretchers, which later began to be given such a luxurious device that Caesar considered it necessary to pass a law restricting this luxury.

An engraving depicting a postal stagecoach in black and red from the Post Office near Newmarket, Suffolk, 1827. A guard is visible from behind.

Somewhat later, the "carrentum", a two-wheeled carriage with a semi-cylindrical cover, and "carruca", the ancestor of modern carriages, a four-wheeled carriage with a covered body raised above the course on four posts, were invented; behind there was a seat for two persons, and the driver sat in front, below the gentlemen, or walked side by side. From the Gauls, the Romans borrowed the "sirpea" tarataika with a body woven of willow, and from the inhabitants of the northern coast of Europe - the "essedum" chariot, which they entered from the front; it served for both peaceful and military purposes.

Salvador Dali - Phantom Carriage

In the era of migration of peoples and at the beginning of the Middle Ages, using a carriage was considered a sign of effeminacy; horse rides were made, and spiritual and women rode donkeys. The chroniclers of this era only very rarely mention carriages. Thus, Egingard tells us that the Merovingian king Chilperic traveled everywhere in the Roman "sarrentum" drawn by bulls; English bishop st. Erkenwald in the 7th century rode and preached in a wheeled cart because he was old and weak. Only after the Crusades does the fashion for carriages begin to revive, but they are allowed only for special occasions, for dignitaries, and ordinary people are forbidden to use them.

"The Arrival of the Mail Carriage" by Boilly Louis-Leopold

A cart is the most common collective name for various vehicles propelled by the muscular power of animals, regardless of the design features, scope and purpose of use.

According to the scope of application, carts are divided into passenger and cargo (military carts also existed earlier), by the number of wheels - into two-wheeled (single-axle) and four-wheeled (biaxial), and also without wheels - on skids.

Willem de Zwart (1862-1931) - Carriages Waiting (Unknown Year)

Carrying capacity of the wagon can reach up to 750 kg (for uniaxial) and up to two tons (for biaxial).

Modern carriages are often equipped with pneumatic tires, and sometimes also pneumatic or hydraulic brakes.

PASSENGER TRANSPORTATION.

Crew types.

Coach- a closed passenger carriage with springs. Initially, the body was suspended on belts, then springs were used for cushioning (from the beginning of the 18th century), and from the beginning of the 19th century they began to use springs. Most often they were used for personal use, although from the late Middle Ages in Europe they began to be used, among other things, as public transport. Examples are stagecoach, omnibus, and chaise. The most common type of stagecoach can be considered a postal carriage.

The word "carriage" came to Russia together with German carriages, when, from the middle of the 17th century, they began to be imported en masse by German merchants and became more and more popular among the Moscow nobility. It is most likely that the word was used earlier along with other words common at that time (for example, "rattletrap"), moreover, the word was used in Ukrainian, Old Church Slavonic and Polish.

(Borrowed in the middle of the 17th century from the Polish language, where kareta< итал. caretta, суф. производного от carro «воз» (из лат. carrus «повозка на четырех колесах»)). Переход с коня (для мужчин) и колымаги (для женщин) на карету для обоих полов символизировал допетровскую европеизацию русского дворянства.

Dormez- a large carriage for long journeys with berths.
DORMEZOM (translated from French "sleeping") was a spacious carriage with berths, designed for long journeys. Such a carriage, inherited from his parents, was L.N. Tolstoy, as his eldest son recalled, was driven by six horses. At the top of the road carriages there were VAZHI, or YOURS, - boxes for luggage, and behind a HOPPER, which also served to store luggage.

Pannemaker Adolf. "The dust flew up from under the dormitory and hid the baby": Il. to the poem by T.G. Shevchenko "Kobzar" (translation by N.V. Gerbel). Engraving with fig. N.N. Karazin. 19th century

Stagecoach- a large multi-seat passenger or mail carriage, widely used in the 19th century.

Military carts * - are given to field troops for transporting ammunition, spare things and tools necessary for keeping the material part in good working order on the campaign and in battle, provisions, fodder, clerical affairs, the money treasury, the sick, the wounded.
Basically, they consist of a course on which the body or box of the carriage is mounted; the course is formed from the main frame, made up of several longitudinal beds, interconnected by transverse cushions; axles with wheels are attached to the latter.
Military carts * for the transportation of essential items follow along with the troops, making up the convoy of the 1st category; this includes: 1) charging boxes, single-shell and paired cartridges gig (ammunition), 2) instrumental military carts * (marching forge, tools in horseshoes), 3) pharmacy gig; 4) infirmary line and 5) officer's gig.

Winter carriage of Elizaveta Petrovna, Moscow, 1730s.

“The winter carriage was made in Moscow by the French craftsman Jean Michel in 1732. Two famous events in the history of the Russian state are associated with this crew. It is known that from 1727 to 1732 the imperial court was permanently located in the Kremlin, and Moscow for these short five years again became the capital of Russia. But in 1733, Empress Anna Ioannovna decided to return the courtyard to Petersburg, and, probably, it was for this historic move that the winter carriage was made. However, on the walls and doors of the carriage, the monogram of another empress, Elizaveta Petrovna, is depicted. He recalls that in this carriage in 1742 the daughter of Peter I arrived in Moscow for the coronation.
The journey took only three days. The carriage, or as it was called the "winter line", freely accommodated ten people and was heated on the way by silver braziers with coal.
The windows and doors of the carriage are closed with narrow glass plates. The walls are decorated with ornamental painting with the attributes of state power. The runners are decorated with large figures of sea animals. In the form of the carriage, albeit to a small extent, one can trace the love of the picturesque silhouette inherent in the Baroque. "

Winter carriage (model) Height - 185 mm, length - 450 mm.

Summer "funny" carriage

A miniature summer carriage, made in Moscow in 1690-1692, with a delicate gold pattern on a pale blue background looks like an elegant toy. Crews that were intended for entertainment were called "amusing". According to the "Inventory of the Tsar's Stable Treasury" the carriage belonged to the two-year-old Tsarevich Alexei, the son of Peter I. Despite its belonging to toys, the carriage is made according to all the rules and with all the subtleties of a complex technical solution. She has a device for turning - "swan neck" - and a turntable. The "amusing" carriage is in no way inferior to real carriages in terms of its sophistication of form and subtlety of decor, which emphasizes the high social status of its little owner.

BERLINE type carriage

The elegant four-seater "Berlin" was used for the important ceremonial trips of Catherine II. It was made by the famous St. Petersburg master of German origin Johann Konrad Buckendahl in 1769 and equipped with the latest structural and technical details - vertical and horizontal leaf springs. Carved gilded decor adorns the cornice, slopes and platbands. The windows and the upper half of the doors are covered with mirrored glass. On the front and back of the mill and on the wheels, gilded carvings almost completely hide the structural details. It is no coincidence that this particular carriage served for the ceremonial trips of the empress and the court.

Rattletrap

The rattletrap is a type of carriage widespread in Russia and Western Europe since the 16th century, with an almost quadrangular body on a high axle. This four-seater rattletrap was made by craftsmen in the 1640s, which was reflected both in the form and in the decoration. The national originality was especially vividly reflected in the decor of the rattletrap. The body of a strict silhouette is covered with crimson velvet and is decorated with a pattern of squares filling the entire surface, lined with copper gilded carnations with convex heads. In the center of each square there is an ornament typical only for Russian carriages of that time in the form of an eight-pointed star made of silver braid. The combination of crimson velvet with silver and gold creates a surprisingly harmonious and festive look of the crew, which is complemented by mica windows, decorated with openwork overlays in the form of stars and double-headed eagles.

The interior decoration is not inferior in its luxury to the exterior - the upholstery of the walls and seats is made of expensive Turkish gold velvet, which was loved in Russia for its extraordinary splendor of the pattern. The first owner of the crew was the Bryansk headman, a subject of the Russian state, Francis Lesnovolsky. In all likelihood, he received it as a reward "by the personal decree of the Great Sovereign." Another owner of the rattletrap was the boyar Nikita Ivanovich Romanov, who played a significant role at the court of Tsar Mikhail Fedorovich.

Winter "funny" carriage

The amusing winter carriage is a unique carriage created in Moscow in 1689-1692, the likes of which are not found in any other museum in the world. The wagon is a "room" with small windows and rather wide doors on runners for ease of movement in the snow. The "amusing" carriage was used for games and amusements for the young children of Tsar Ivan Alekseevich - brother and co-ruler of Peter I. The body shape retains the ancient traditional shape - a strict and clear silhouette and rectangular outlines. However, it is decorated very picturesquely in accordance with the baroque style fashionable at that time. The leather upholstery was made by the craftsmen of the Moscow Kremlin. An embossed gilded relief pattern of flowers and fruits covers the entire surface of the walls and doors. The smart carriage was perfect for the winter fun of the tsar's children and at the same time corresponded to the high status of the owners, which was emphasized by the sophistication of expensive finishes and high craftsmanship.

Armouries

The Armory collection of carriages is a gem among museum collections.

The collection of crews stored in the Armory has no analogues in other collections, it allows you to trace the development of crew business in Russia and Western Europe. The value of the collection lies in the fact that the crews have not undergone major alterations, the identity of the crews and the names of their creators are known - I.K.Bukendal, I.M. Hoppenhaupt, N. Pino, F. Boucher, F. Caffieri. By the carriages of the Armory collection, one can judge about changes in the shape, design and decoration of carriages during the 16th - 18th centuries.

The Armory collection of carriages is a gem among museum collections. It has seventeen carriages created in the period from the 16th to the 18th century by the best craftsmen of Russia and Western Europe. The carriages were practically not altered. They represent such a significant branch of artistic craft as carriage, without studying which it is impossible to comprehend the artistic culture of Russia and Europe in the 16th, 17th and 18th centuries. The crews of those times were not just an elite form of transport. Most of them are also monuments of art, in which wood carving, painting, casting, artistic leather processing, jewelry craftsmanship and even architecture are organically combined.

Summer stroller
A summer carriage in the shape of an Italian gondola was made in England in the 70s of the 18th century. It was presented by Count G. Orlov to Empress Catherine II. The stroller does not have doors; they are replaced by a reclining front part of the body. Gilded carved oak and laurel branches and garlands of flowers frame the body of the stroller.
The front of the carriage is decorated with carvings of eagles with outstretched wings. Behind - the figures of horsemen in helmets and chain mail, already created by Russian craftsmen, with spears in their hands. The carving, covered with thick gilding, gives the impression of being cast from metal. On the walls of the carriage there are images of ancient gods. On the sides - Amphitrite and Fortuna, on the back wall - Apollo among the muses. This carriage can be classified as one of the best works of world carriage art.

Rattletrap
The English carriage of the late 16th century was a gift from King James I of England to Boris Godunov in 1603. The most ancient carriage of our collection. The carriage is still simple in form, its design and technical arrangement are imperfect, it does not have a turntable. To turn the carriage, a rather large area was required, and during a sharp turn, the rear wheels had to be carried on the hands. The carriage has no room for the coachman, the horses were led by the bridle, or the coachman sat astride the first leading horse. This type of carriage - open, without springs, without a turntable - was called rattle cars in Russia. The carriage is interesting for its decorative design - high-relief woodcarving depicting scenes of the struggle between Christians and Muslims and scenes of hunting.

Berlin carriage
The most perfect carriage in the collection is the four-seater ceremonial carriage.
Made in St. Petersburg by master Johann Konrad Buckendahl in 1769 for Catherine II.
The carriage has both vertical and horizontal springs.

Coach
Closed carriage, double, compartment type. The body is suspended on long straps. The crew was made by the craftsmen of Vienna by order of the Russian court in 1740. The carved decor is the most important part of the artistic decoration of the crew. The carving is tinted and gilded. The walls and doors of the body are decorated with paintings in golden-green tones on mythological subjects.

Coach
Closed carriage, double, compartment type. The body is suspended on long straps. Made by the craftsmen of Vienna in 1741 - 1742.
The artistic solution and technical data are typical for the ceremonial carriages of the 1740s.
The carriage is covered with thick, gilded Rococo carvings with allegorical and mythological subjects.
Was ordered specially for the coronation ceremony of Empress Elizabeth Petrovna.

Coach
Superbly executed in 1746 by the Berlin master Johann Michael Hoppenhaupt. The carriage gives the impression of lightness, grace thanks to skillful wood carving depicting laurel leaves, curls, shells, sculptures of mythological deities. In the form of the body, the decor is clearly expressed features of the rococo style. Its body is suspended on six belts, has springs and a turntable. The carriage was presented by Frederick II to Empress Elizabeth Petrovna. It was used during coronation celebrations throughout the 18th - 19th centuries, so the crew was refurbished many times.

Coure carriage
The coure-type carriage was made in St. Petersburg in 1739 for the Empress Anna Ioannovna.
Baroque curls and shells are combined with ancient Russian patterned rosettes and double-headed eagles.
The body wall edges, curved cornices, window and door frames are decorated with very fine gold carvings.
According to its technical solution, the carriage resembles French carriages, but mirrored glass has already been inserted into the windows.

Winter carriage "amusing"
Small carriage on runners. There are no such carriages in any museum collection in the world. The body of the wagon retains its ancient traditional shape. The walls are upholstered in gilded embossed leather, which is abundantly covered with floral ornament, which includes images of putti, exotic birds, eagles, and figures of running animals. The leather, like the cart itself, was made in Moscow in the Kremlin workshops. In the Russian tradition, copper carnations with large heads were used for the decoration of the carriage. Mica is fixed in tin-bound windows. The carriage served for the games and amusements of the young children of Tsar Ivan Alekseevich, half-brother and co-ruler of Peter I.

Summer carriage "amusing"
Has a graceful baroque shape. The walls are upholstered with embossed blue leather, which is abundantly covered with gilded floral ornament, which includes images of putti, exotic birds, eagles, and figures of running animals. The leather, like the cart itself, was made in Moscow in the Kremlin workshops. The technical device of the carriage is perfect enough for that time. It has a device for turning a curved "swan neck" beam over the turntable. Copper carnations with large heads were used for the decoration of the carriage. They fixed the skin on the body and trimmed the frame bindings. There is mica in the tin-bound windows. The carriage belonged to the son of Peter I - Alexei Petrovich.

Garden stroller
Open garden double carriage of Empress Anna Ioannovna. The documents from the Armory archive contain information that the carriage was made for Empress Anna Ioannovna in Moscow. The decoration, rather modest for imperial carriages, the shape of wheels with wide rims, studded with iron, is explained by the fact that it was used for walking in the palace parks. The form of the body and its painting are exquisite. On the walls of the carriage body there are images: the state emblem, the monogram of Empress Anna Ioannovna and a female figure, in whose face and figure one can guess a portrait resemblance to the Empress.

Wheeled carriages already existed in prehistoric times; they are mentioned in the most ancient sources as objects of common knowledge. So, in one of the oldest verses of the Vedas, a comparison is used: "as a wheel follows a horse, so both worlds are behind you."
In Asia, carts have been used for a long time, simultaneously with riding and pack animals. The Greeks in Homer's time used chariots. The details of the construction of the ancient carts remain unknown; only the external form of two-wheeled war chariots is well depicted in many surviving bas-reliefs and other images.

UNGEWITTER, HUGO (1869-c.1944)
A Noblewoman Alighting her Carriage, signed and dated 1906.

TSERETELLI, ZURAB (B. 1934).

V. Serov. Odysseus and Nausicaä

An engraving depicting a postal stagecoach in black and red from the Post Office near Newmarket, Suffolk, 1827. A guard is visible from behind.

Salvador Dali - Phantom Carriage

"The Arrival of the Mail Carriage" by Boilly Louis-Leopold

A cart is the most common collective name for various vehicles propelled by the muscular power of animals, regardless of the design features, scope and purpose of use.

Willem de Zwart (1862-1931) - Carriages Waiting (Unknown Year)

Carrying capacity of the wagon can reach up to 750 kg (for uniaxial) and up to two tons (for biaxial).

Modern carriages are often equipped with pneumatic tires, and sometimes also pneumatic or hydraulic brakes.

PASSENGER TRANSPORTATION.

Crew types.

A carriage is a closed passenger carriage with springs. Initially, the body was suspended on belts, then springs were used for cushioning (from the beginning of the 18th century), and from the beginning of the 19th century they began to use springs. Most often they were used for personal use, although from the late Middle Ages in Europe they began to be used, among other things, as public transport. Examples are stagecoach, omnibus, and chaise. The most common type of stagecoach can be considered a postal carriage.

Dormez is a large carriage for long journeys with berths.
DORMEZOM (translated from French "sleeping") was a spacious carriage with berths, designed for long journeys. Such a carriage, inherited from his parents, was L.N. Tolstoy, as his eldest son recalled, was driven by six horses. At the top of the road carriages there were VAZHI, or YOURS, - boxes for luggage, and behind a HOPPER, which also served to store luggage.

A stagecoach is a large multi-seat passenger or postal carriage widely used in the 19th century.

Winter carriage

This magnificent multi-seater carriage in the form of a carriage on long runners was made by the master Jean Michel in Moscow in 1732. It was intended for long distance travel in winter. It was on it in February 1742 that the daughter of Peter I Elizabeth hurried to Moscow from St. Petersburg for her coronation. The luxurious carriage was decorated with gilded carvings and sculptural details, the roof was crowned with balusters, and the walls were decorated with paintings with double-headed eagles and other attributes of state power. The comfortable and beautiful carriage was made with truly royal luxury. Until now, it impresses with the splendor of the decor and the grace of forms.
Height - 185 mm., Length - 450 mm.

Summer "funny" carriage

BERLINE type carriage

Rattletrap

Winter "funny" carriage

I don’t know what is Illuminati or Freemasonry, ”Pierre began, entering a state of eloquent delight, in which he forgot himself,“ and I don’t want to know. I know that these are my beliefs and that in these beliefs I find the sympathy of like-minded people who are innumerable in the present, in the past and to whom the future belongs. Only our holy brotherhood has real meaning in life; everything else is a dream, he said. - You understand, my friend, that outside of this union everything is full of lies and untruths, and I agree with you that a smart and kind person has no choice but to live out his life, like you, trying not to interfere with others. But assimilate our basic beliefs, join our brotherhood, give us a hand, let us lead you, and now you will feel, as I felt, part of this huge, invisible chain from which the beginning is hidden in heaven.

Prince Andrew, silently looking in front of him, listened to Pierre's speech. Several times, not hearing from the noise of the carriage, he asked Pierre the unheard words. By the special brilliance that lit up in Andrei's eyes and by his silence, Pierre saw that his words were not in vain, that Andrei would not interrupt him. He had already ceased to be afraid of a mocking or cold objection and only wanted to know how his words were received.

They drove up to an overflowing river, which they had to cross by ferry. While they were setting up the carriage and horses, they silently walked onto the ferry and, leaning their elbows, stood at the railing. Prince Andrew silently looked along the flood, glistening from the setting sun.

Well, what do you think about this? Why are you silent?

What I think? I am listening to you. This is all true. But you say: join our brotherhood, and we will show you the purpose of life and the purpose of man and the laws that govern the world. Who are we - people. Why do you all know, but I do not know, and you, one person, do not know what you are?

I don’t know? - Pierre spoke with ardor. - No, I know. Do I not feel in my soul that I am part of this huge harmonious whole. Don't I feel that I am in this innumerable number of beings, in which the deity is manifested - a higher force, as you wish, that I am one link, one step from lower beings to higher ones? If I see, clearly see this ladder that leads from plant to man, then why should I suppose that this ladder, to which I do not see the end below, is lost in plants, polyps. Why should I suppose that this ladder is interrupted with me, and does not lead further and further to higher beings? You've read Herder. This is the greatest philosopher and sage. He says ... - and Pierre began to expound the entire teaching of Herder, which was then still a completely new teaching, which was deeply understood and felt by Pierre.

The carriage and the horses had long been taken to the other side and laid, and the sun had already disappeared by half, and the evening frost covered the puddles at the ferry with stars, and Pierre, to the surprise of the footmen, coachmen and carriers, still stood, waving his hands, and spoke to his lispers voice. Prince Andrew, still in the same motionless pose, listened to him and, without lowering his eyes, looked at the red reflection of the sun over the blue flood.

No, my friend, - finished Pierre, - there is God in heaven and good on earth.

Prince Andrew sighed childishly and with a radiant, childish gentle gaze looked at Pierre's face, flushed, enthusiastic, but still timid before his leading friend.

Yes, if only that were so! - he said. - But let's go sit down.

And, getting off the ferry, Prince Andrew looked at the high, clear sky, and for the first time after Austerlitz he saw that high, eternal sky that he saw lying on the Austerlitz field, proceeding with blood and dying. Seeing this sky, he remembered the whole mentality of that time and wondered how he could later, having entered the old rut of life's petty worries, forget all this. Pierre did not convince him. All Pierre's reasonable arguments struck him only with their coldness, but Pierre's love animation, who held on to his convictions like a saving board, his apparent desire to convey the happiness he felt from these convictions to his friend, above all this shyness of Pierre, who for the first time took the tone of teaching with the man with whom he had always agreed in everything before - all this, combined with the wonderful April evening and the silence of the water, did what Prince Andrey felt again the eternal high sky, felt himself softened and with those forces of young life beating in him , which he considered already lived.

From what? - said Prince Andrew to the urgent demand to introduce him to the Masonic lodge. - From what? It is not difficult for me, but it will give you great pleasure.

In 1807, life in Bald Hills changed little. Only in the half of the late princess was there a nursery, and instead of her there lived a little prince with Buriens and an English nanny. The princess finished her math lessons and only went to greet her father in the morning when he was at home. The old prince was appointed one of the eight commanders-in-chief of the militia, then determined throughout Russia. The old prince recovered so much after the return of his son that he did not consider himself entitled to give up the post to which he had been determined by the sovereign himself. He was still the same, but only more often lately in the mornings, on an empty stomach, and before dinner they found moments of rage on him, in which he was terrible for his subordinates and unbearably hard for his family.

In the church cemetery, a new monument towered over the princess's grave, a chapel with a marble statue of a weeping angel. The old prince once entered this chapel and, angrily blowing his nose, left it. Prince Andrey also did not like to look at this monument, it seemed to him, probably just like his father, that the face of the crying angel looked like the face of the princess, and that face said the same: “Oh, what have you done to me! I gave you everything I could, but what have you done to me? " Only Princess Marya willingly and often went to the chapel, trying to convey her feelings to the child, took her little nephew with her and frightened him with her tears.

The old prince had just arrived from the provincial town on business, and, as usual with him, his activity revived him. He arrived merrily and was especially pleased with the arrival of his son with a guest, whom he did not yet know personally, but knew from his father, with whom he was friends. Prince Andrew led Pierre into his father's study and immediately went to Princess Mary's half and to his son. When he returned, the old man and Pierre were arguing, and from the lively old eyes of his father and his screams, Andrei noticed with pleasure that Pierre liked the old man. They argued, as was to be expected, about Bonaparte, about whom Prince Nikolai Andreevich seemed to be examining any new visitor. The old man still could not stomach the fame of Bonaparte and proved that he was a bad tactician. Pierre, although he changed his view of his former hero a lot, still considered him a man of genius, although he accused him of betraying the ideas of the revolution. The old prince did not understand this look at all. He tried Bonaparte only as a general.

Well, do you think he has cleverly become his back to the sea now? - said the old man. - No matter how the Kusgevens (as he called Buxgewden), he would be terrified.

This is his strength, - argued Pierre, - that he despises military traditions, but in everything he acts in his own way.

Yes, in his own way and near Austerlitz he got between two fires ...

But at that time, Prince Andrew entered, and the prince fell silent.

He never spoke about Austerlitz in front of his son.

Everything about Bonaparte, - said Prince Andrey with a smile.

Yes, - answered Pierre, - remember how we looked at him two years ago.

And now, - said Prince Andrey, - now it is clear to me that all the strength of this man is in contempt for ideas and in lies. We just need to assure everyone that we always win, and we will win.

Tell me, Prince Andrey, about the Arkol puddle, - said the old man and laughed ahead.

The old man heard this story a hundred times and made everyone repeat it. This story consisted of details about the capture of the Arkolsky bridge in 1804, which Prince Andrew, while in captivity, learned from a former eyewitness, a French officer. At that time, even more than now, was glorified and everyone knows the imaginary feat of Bonaparte, who was still the commander-in-chief, on the Arkolsky bridge. It was told, and printed, and painted that the French troops lingered on the bridge, fired at with grapeshot. Bonaparte grabbed the banner, rushed forward onto the bridge, and, carried away by his example, the troops followed him and took the bridge. An eyewitness told Andrey that none of this happened. It is true that the troops hesitated on the bridge and, several times sent ahead, fled, it is true that Bonaparte himself rode up and dismounted to inspect the bridge.

Crew types

The most convenient, expensive and comfortable crew was the CARETA, which was distinguished by a completely closed body, with obligatory springs. The coachman was located on the front end - KOZLAH, being exposed, unlike the riders, to all the effects of bad weather. In carriages, a simpler goat could not have been, and then the driver sat simply on a high edge that fringed the cart, which was called the ROOM. Inside the carriage had soft seats - from two to six, windows on the sides and in the front - for communicating with the coachman. Behind the body, on HELPS, that is, on a special footboard, during especially solemn trips, there were one or two EXIT LACKS - HAYDUKS. Doors served to enter the carriage; a step led to them - a footboard, which is thrown into the carriage after landing and is folded back with a jack after stopping. Often the footrests were thrown and thrown back with a crash, so, in any case, it says in L. Tolstoy's "Two Hussars". Lanterns were burning on the sides of the carriage in the dark.
The carriages were most often laid in three or four, light carriages - in a couple. It was supposed to go to receptions and balls in a carriage; if there was no one of their own, they hired a pit. So, Eugene Onegin rode off to the ball "headlong in a pit carriage." The aristocratic characters in Anna Karenina drive around in their own carriages; however, having left her husband, Anna Karenina goes to her son Seryozha, hiring a "cab".
The downtrodden official Makar Devushkin ("Poor People" by Dostoevsky) conveys his impressions of the carriages in the following way: “Magnificent carriages, glass like a mirror, inside velvet and silk ... princesses and countesses ".
DORMEZOM (translated from French "sleeping") was a spacious carriage with berths, designed for long journeys. Such a carriage, inherited from his parents, was L.N. Tolstoy, as his eldest son recalled, was driven by six horses. At the top of the road carriages there were VAZHI, or YOURS, - boxes for luggage, and behind a HOPPER, which also served to store luggage.
The simpler and lighter carriages were the WHEELCHAIRS. Unlike carriages, their bodies were open, but with a convertible top. The carriages were usually harnessed by a couple or three horses, but very rich people, like Troekurov in Dubrovsky, Andrei Bolkonsky in War and Peace, or the governor’s daughter in Dead Souls, rode six in a carriage.
Gogol's story "The Carriage" is known, in which the guests find the owner hiding from them in his new carriage. In Chekhov's story "Enemies", the difference between a carriage and a carriage serves as an important characteristic of the social and moral differences of the characters. A wealthy landowner calls in for a doctor in a wheelchair. When it turns out that the call was false and unnecessary, the doctor, whose son had just died, expresses his indignation to the landowner, after which he orders the lackey: "Go, tell this gentleman to be given a carriage, and for me to lay the carriage." The carriage emphasized the material superiority of the landowner over the doctor.
The FAETON and LANDO were varieties of dandy open-top city strollers.
Tarantas served as a road carriage, so its strength was considered more important than beauty. Its body was attached to long - up to three fathoms - longitudinal bars, the so-called DROGS, which replaced the springs, damping shocks and softening shaking. In Siberia, tarantasses were called LONG because of their length.
This is how the writer V.A. Sollogub in the story “Tarantas”: “Imagine two long poles, two parallel clubs, immeasurable and endless; in the middle of them, as if by accident a huge basket was thrown, rounded on the sides ... Wheels are attached to the ends of the clubs, and all this strange creature seems from afar to be some kind of wild creation of a fantastic world. "
Landowners like Kirsanov, Lavretsky and Rudin at Turgenev, the Golovlevs at Saltykov-Shchedrin, Levin at L. Tolstoy, etc. readily used tarantas. It was the tarantass that was most often used when driving "for long", rode in it lying. Later, the tarantass acquired springs.
The chaise was much lighter than a bulky tarantass, but it also withstood long trips - this can be judged by the chaise in which Chichikov rode around Russia. Like the tarantass, the chaise had a reclining top, sometimes braided, sometimes leather - BUDKU. In the Chichikovskaya chaise, the top of the body, that is, a kind of tent over the rider, was "drawn from the rain by leather curtains with two round windows, designated for viewing road views." On the box next to the coachman Selifan sat the footman Petrushka. This chaise was "quite beautiful, spring-loaded".
For a long time the antediluvian springless chariots did not disappear - the boy Yegorushka goes to this one in Chekhov's "Steppe".
Gorky's Klim Samgin rides in a postal chaise drawn by a pair of rough, red-haired horses.
Nowadays, a chaise is called a simple one-horse light carriage.
DROGS got its name from the Drogs described above - long bars connecting both axles. Initially, it was a completely primitive cart: on a board placed on top, one had to sit on top or sideways. This kind of droshky was sometimes called DRAGGERS. Later the droshky was improved and acquired springs and a body. Such droshky sometimes received the name POLYASKI, by similarity. But neither the old nor the more advanced droshky was used for especially long distances. It was predominantly an urban carriage. The governor in the "Inspector" goes to the hotel in a droshky, Bobchinsky is ready to run after him like a cock, curious to look at the inspector. In the next act, the mayor rides in a droshky with Khlestakov, but there is not enough room for Dobchinsky ... Gogol's old-world landowners had a droshky with a huge leather apron, which filled the air with strange sounds.
Very often in Russian literature there are RUNNING TRACKS, or RUNNERS for short, - two-seater, harnessed to one horse. Such droshky were used by landowners or their managers to detour the estate, travel to the nearest neighbors, etc., in a word, they replaced a bicycle that had not yet appeared at that time. One of the riders drove the horse: for example, in the Dubrovskoye, Troyekurov drives the droshky himself. Lasunskaya at Turgenev's is dissatisfied with Rudin because he drives a running droshky, his constant trotter, "like a clerk."
Urban DRIVERS were called SPANISH and soon abbreviated their name to the word "SPRAY". Such a light two-seater carriage with springs and a rising top could be seen in the cities of the USSR as far back as the 1940s. The expression "to ride in a cab" meant "to ride in a cab", while in winter - on a cab of a similar design.
City cabbies were divided into VANEK, LIKHACHEI and something in between - LIVING. Vanka was the name of a half-impoverished peasant who came to work in the city, usually in winter, in the words of Nekrasov, on a "tattered and frozen nag" and with an appropriate cart and harness. The reckless driver, on the contrary, had a good, playful horse and a smart carriage.
Leaf springs appeared only in the 1840s. Before that, the cabbies had CALIBER DRIVES, or simply CALIBER. On such tracks, men rode on horseback, women sat sideways, since it was a simple board placed on both axles, with four primitive round springs. The single-seater caliber was called the GUITAR, after the similarity of the shape of the seat. The cabbies were waiting for the riders at the BIRZHAKH - specially designated paid parking lots. Describing the St. Petersburg morning in Eugene Onegin, Pushkin does not miss the following detail: "... A cabman is reaching the stock exchange ..."
KIBITKA is a very broad concept. This was the name of almost any semi-covered, that is, with an opening in the front, summer or winter carriage. Actually, the wagon was called portable housing among the nomadic peoples, then - the top of the carriage, made of cloth, matting, bast or leather, stretched over arcs from twigs. Grinev in "The Captain's Daughter" left home in a traveling wagon. In the same story, Pugachev rides in a wagon harnessed to a troika.
The hero of the famous book Radishchev travels from St. Petersburg to Moscow in a wagon. An interesting detail: in the wagon of those times we were traveling lying down, there was no seat. Radishchev sometimes calls the carriage a wagon, Gogol sometimes calls the Chichikov carriage a wagon, since it had a canopy.
"... Exploding fluffy reins, / The daring wagon flies ..." - memorable lines from "Eugene Onegin", a description of the beginning of winter with the first journey. In the picture of the Larins' move to Moscow, "they load the wagons with a mountain" - these primitive carts served for luggage.
RULER was originally called a simple long droshky with a board for sitting sideways or on top, and if the board was wide enough - on both sides with backs to each other. The same one-horse carriage is called in "Poshekhonskaya Starina" by Saltykov - Shchedrin LONG - ROCKER, and in L. Tolstoy's "Anna Karenina" - RATERS, on which Levin's guests go hunting.
Later, the line began to be called an urban or suburban multi-seater carriage with benches on both sides, passengers separated by a partition sat sideways in the direction of travel, with their backs to each other. City lines were equipped with a rain canopy.
The old bulky carriages were called KOLYMAGS or RYDVANS. In Krylov's fable "The Fly and the Travelers" we read: "With luggage and with a family of nobles, / Sobbed with Four / Dragged along." Further, the same crew is referred to as a rattletrap. But in Russian literature of the XIX century, as in our days, both words are used figuratively, jokingly.
An interesting phenomenon is observed in the history of material culture: objects used by a person decrease and lighten over time. Take a look in the museum for antique dishes, furniture, clothes and compare with modern ones! The same thing happened with the crews. However, in the old days there were light carts. These include the following.
CONVERTIBLE - a one-horse, less often a two-wheeled, two-wheeled, spring-loaded carriage, without a goat, with a high seat. It was ruled by one of the riders. Konstantin Levin in Anna Karenina drives his brother in a convertible, driving himself.
The Russian SHARABAN was of the same design. The heroes of Chekhov's "Drama on the Hunt" in twos or alone ride around in chaises. In Ostrovsky's play The Wild Man, Malkov promises Marya Petrovna: “I’ll deliver you such a bituka — extremely rare. In the chaise, you yourself will rule, anything is expensive. " Self-driving for women is becoming a fashion. The heroine of Chekhov's story "Ariadne" rode out on horseback or in a charaban.
The two-wheeled, two-wheeled convertible was sometimes called the TARATAIKA. In the preface to Evenings on a Farm near Dikanka, the author recalls a certain Foma Grigorievich, who, coming from Dikanka, “looked after the failure with his new tartayka and his bay mare, despite the fact that he himself ruled and that, beyond his eyes , put on from time to time purchased ones, ”that is, glasses.
Finally, a light carriage for one rider with a coachman in front bore the characteristic name EGOISTKA. In "Little Things of Life" by Saltykov - Shchedrin, Seryozha Rostokin "at two o'clock got into his own selfish woman and went to have breakfast at Dusot's."
How did you get around in winter?
The oldest toboggan carriage with a closed body was called WOZOK. He provided the rider with all the comforts, except perhaps heating: a soft seat, warm bedspreads, light through the windows. It is not without reason that Nekrasov's poem "Russian Women" says about such a crew: "Peaceful, strong and light / Wonderfully well-coordinated carriage."
We also went in the open sledge ROSVALNYAH, or SEED, - a wide cart on skids, expanding from the front to the rear, without special sitting. They are well known to us, if only because the boyarynya Morozova sits in them in the famous painting by Surikov. Turgenev's story "Old Portraits" tells how "at the very Baptism, the master went with Ivan (coachman) to the city on his troika with bells, in carpet stitching" and what came of it.
Later, the sled carriages had undercuts - iron strips nailed to the lower plane of the runners.
They did not use DROVNYAH, although they did "renew the path": they were peasant cargo sledges.
On Tatyana Larina's name day, in January
... The neighbors gathered in carts,
In wagons, carts and sleighs.

Everything is clear, except how it was possible to drive along a snowy road in a wheeled carriage.
One should not think that in winter wheeled carriages, especially covered ones, stood idle. It is not known what happened to the famous Chichikov's chaise, but in the second, unfinished volume of the poem, the hero already has a carriage. The coachman Selifan reports to the owner: “The road must have been established: there is enough snow. It's time, really, to get out of the city ", to which Chichikov orders:" Go to the coachman to put the carriage on the skids. "
Such transformations of a summer, wheeled, carriage into a winter, sledge, were quite common. There is no doubt that the carts of those who had gathered for Tatyana's name day were put on runners. In Dostoevsky's Uncle's Dream, the prince's huge road carriage fell onto the road: “... finally we lift the carriage of six of us, put it on its feet, which it really doesn’t have, because it is on runners”. In the same story, Maria Alexandrovna "rolled along the Mordasov streets in her carriage on skids."
However, in large cities, where the snow from the pavement was partially cleared, partially compacted, it was possible to ride in wheeled carriages even in winter. “Once in a line of carriages, slowly squealing wheels in the snow, the Rostovs 'carriage drove up to the theater,” - this is how the Rostovs' winter trip to the opera is described (“War and Peace” by Tolstoy). In the "Queen of Spades" in St. Petersburg in winter, carriages are clearly driving around on wheels, and not on runners. At the beginning of L. Tolstoy's story "The Cossacks" there is a phrase: "Rarely, rarely where one can hear the screeching of wheels on a winter street."

What is incomprehensible among the classics, or the Encyclopedia of Russian life of the XIX century... Yu. A. Fedosyuk. 1989.