popular belief that held to the idea of Christ’s bloodless birth, symbolized the fallen state of womanhood. 98 The
banyans
role in prenuptial rites was also to ensure the woman’s purity: the bride was washed in the
banya
by her maids on the eve of her wedding. It was a custom in some places for the bride and groom to go to the bath house before their wedding night. These were not just peasant rituals. They were shared by the provincial nobility and even by the court in the final decades of the seventeenth century. According to the customs of the 1670s Tsar Alexei’s bride was washed in the
banya
on the day before her wedding, while a choir chanted sacred songs outside, after which she received the blessing of a priest. 99 This intermingling of pagan bathing rites with Christian rituals was equally pronounced at Epiphany and Shrovetide (‘Clean Monday’), when ablution and devotion were the order of the day. On these holy days it was customary for the Russian family, of whatever social class, to clean the house, washing all the floors, clearing out the cupboards, purging the establishment of any rotten or unholy foods, and then, when this was done, to visit the bath house and clean the body, too.
In the palace, the salon upstairs belonged to an entirely different, European world. Every major palace had its own salon, which served as the venue for concerts and masked balls, banquets, soirees, and sometimes even readings by the greatest Russian poets of the age. Like all palaces, the Fountain House was designed for the salon’s rituals. There was a wide sweeping driveway for the grand arrival by coach-and-four; a public vestibule for divesting cloaks and furs; a ‘parade’ staircase and large reception rooms for the guests to advertise their tasteful dress and etiquette. Women were the stars of this society. Every salon revolved around the beauty, charm and wit of a particular hostess - such as Anna Scherer in Tolstoy’s
War and Peace,
or Tatiana in Pushkin’s
Eugene Onegin.
Having been excluded from the public domain under Muscovy, women took up leading roles in the European
culture of the eighteenth century. For the first time in the history of the Russian state there was even a succession of female sovereigns. Women became educated and accomplished in the European arts. By the end of the eighteenth century the educated noblewoman had become the norm in high society - so much so that the uneducated noblewoman became a common subject of satire. Recalling his experience as the French ambassador in Petersburg during the 1780s, Count Segur believed that Russian noblewomen ‘had outstripped the men in this progressive march towards improvement: you already saw a number of elegant women and girls, remarkable for their graces, speaking seven or eight languages with fluency, playing several instruments, and familiar with the most celebrated romance writers and poets of France, Italy and England’. The men, by comparison, had nothing much to say. 100
Women set the manners of the salon: the kissing of the hand, the balletic genuflections and the feminized apparel of the fop were all reflections of their influence. The art of salon conversation was distinctly feminine. It meant relaxed and witty conversation which skipped imperceptibly from one topic to another, making even the most trivial thing a subject of enchanting fascination. It was also
de rigueur
not to talk for long on serious, ‘masculine’ topics such as politics or philosophy, as Pushkin underlined in
Eugene Onegin
:
The conversation sparkled bright; The hostess kept the banter light And quite devoid of affectations; Good reasoned talk was also heard, But not a trite or vulgar word, No lasting truths or dissertations -And no one’s ears were shocked a bit By all the flow of lively wit. 101
Pushkin said that the point of salon conversation was to flirt (he once claimed that the point of life was to ‘make oneself
banyans
role in prenuptial rites was also to ensure the woman’s purity: the bride was washed in the
banya
by her maids on the eve of her wedding. It was a custom in some places for the bride and groom to go to the bath house before their wedding night. These were not just peasant rituals. They were shared by the provincial nobility and even by the court in the final decades of the seventeenth century. According to the customs of the 1670s Tsar Alexei’s bride was washed in the
banya
on the day before her wedding, while a choir chanted sacred songs outside, after which she received the blessing of a priest. 99 This intermingling of pagan bathing rites with Christian rituals was equally pronounced at Epiphany and Shrovetide (‘Clean Monday’), when ablution and devotion were the order of the day. On these holy days it was customary for the Russian family, of whatever social class, to clean the house, washing all the floors, clearing out the cupboards, purging the establishment of any rotten or unholy foods, and then, when this was done, to visit the bath house and clean the body, too.
In the palace, the salon upstairs belonged to an entirely different, European world. Every major palace had its own salon, which served as the venue for concerts and masked balls, banquets, soirees, and sometimes even readings by the greatest Russian poets of the age. Like all palaces, the Fountain House was designed for the salon’s rituals. There was a wide sweeping driveway for the grand arrival by coach-and-four; a public vestibule for divesting cloaks and furs; a ‘parade’ staircase and large reception rooms for the guests to advertise their tasteful dress and etiquette. Women were the stars of this society. Every salon revolved around the beauty, charm and wit of a particular hostess - such as Anna Scherer in Tolstoy’s
War and Peace,
or Tatiana in Pushkin’s
Eugene Onegin.
Having been excluded from the public domain under Muscovy, women took up leading roles in the European
culture of the eighteenth century. For the first time in the history of the Russian state there was even a succession of female sovereigns. Women became educated and accomplished in the European arts. By the end of the eighteenth century the educated noblewoman had become the norm in high society - so much so that the uneducated noblewoman became a common subject of satire. Recalling his experience as the French ambassador in Petersburg during the 1780s, Count Segur believed that Russian noblewomen ‘had outstripped the men in this progressive march towards improvement: you already saw a number of elegant women and girls, remarkable for their graces, speaking seven or eight languages with fluency, playing several instruments, and familiar with the most celebrated romance writers and poets of France, Italy and England’. The men, by comparison, had nothing much to say. 100
Women set the manners of the salon: the kissing of the hand, the balletic genuflections and the feminized apparel of the fop were all reflections of their influence. The art of salon conversation was distinctly feminine. It meant relaxed and witty conversation which skipped imperceptibly from one topic to another, making even the most trivial thing a subject of enchanting fascination. It was also
de rigueur
not to talk for long on serious, ‘masculine’ topics such as politics or philosophy, as Pushkin underlined in
Eugene Onegin
:
The conversation sparkled bright; The hostess kept the banter light And quite devoid of affectations; Good reasoned talk was also heard, But not a trite or vulgar word, No lasting truths or dissertations -And no one’s ears were shocked a bit By all the flow of lively wit. 101
Pushkin said that the point of salon conversation was to flirt (he once claimed that the point of life was to ‘make oneself
Similar Books
