Types of crews

The most convenient, expensive and comfortable carriage was the CARRIAGE, which was distinguished by a completely closed body, with mandatory springs. The coachman was located on the front end - the GOAT, being exposed, unlike the riders, to all the influences of bad weather. In simpler carriages there might not have been a goat, and then the driver simply sat on the high edge that bordered the cart, which was called OLUCHK. Inside, the carriage had soft seats - from two to six, windows on the sides and front - for communication with the coachman. Behind the body, on the BACKS, that is, a special step, during especially ceremonial departures there stood one or two TRAVELING LACKEYS - HAIDUCKS. To enter the carriage there were doors; a step led to them - a step, which was folded after boarding into the carriage and folded back with a guide after stopping. Often the footrests were thrown back and forth with a roar, or so, in any case, it says in “The Two Hussars” by L. Tolstoy. Lanterns burned on the sides of the carriage in the dark.
Carriages were most often laid in threes or fours, light carriages in twos. It was supposed to go to receptions and balls in a carriage; if they didn’t have their own, they hired a yamskaya. So, Evgeny Onegin galloped to the ball “headlong in a Yamsk carriage.” The aristocratic characters in Anna Karenina ride around in their own carriages; however, having left her husband, Anna Karenina goes to her son Seryozha, hiring a “cab carriage”.
The downtrodden official Makar Devushkin (“Poor People” by Dostoevsky) conveys his impressions of the carriages this way: “The carriages are so magnificent, the glass is like a mirror, there is velvet and silk inside... I bewitched all the carriages, all the ladies are sitting, so dressed up, maybe princesses and countesses."
DORMEZ (translated from French as “sleeping”) was a spacious carriage with sleeping places, intended for long trips. L.N. had such a carriage, inherited from his parents. Tolstoy, as his eldest son recalled, was pulled by six horses. The road carriages had VAZHI, or VASHI, at the top - boxes for luggage, and at the back there was a HUMP, which also served to place luggage.
Simpler and lighter carriages were STROLLERS. Unlike carriages, their body was open, but with a folding top. Carriages were usually harnessed by two 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 Stroller” is well known, in which guests discover the owner hiding from them in his new stroller. In Chekhov's story “Enemies,” the difference between a carriage and a carriage serves as an important characteristic of the social and moral differences between the characters. A rich landowner picks up a doctor in a wheelchair. When it turns out that the call was false and unnecessary, the doctor, whose son has just died, expresses his indignation to the landowner, after which he orders the footman: “Go, tell this gentleman to give him a carriage, and tell him to lay the carriage for me.” The carriage emphasized the material superiority of the landowner over the doctor.
Varieties of smart city strollers with an opening top were PHAETON and LANDO.
TARANTASA served as a road carriage, so its strength was considered a more important quality than beauty. Its body was mounted on long - up to three fathoms - longitudinal bars, the so-called DROGA, which replaced springs, absorbing shocks and softening shaking. In Siberia, tarantasses were called DOLGUSHI because of their length.
This is how writer V.A. describes this cart. Sollogub in the story “Tarantas”: “Imagine two long poles, two parallel clubs, immeasurable and endless; It’s as if a huge basket, rounded on the sides, has been accidentally thrown in the middle of them... Wheels are attached to the ends of the clubs, and this whole strange creature seems from a distance to be some kind of wild creation of a fantasy world.”
Tarantases were readily used by landowners like Kirsanov, Lavretsky and Rudin from Turgenev, the Golovlevs from Saltykov - Shchedrin, Levin from L. Tolstoy, etc. It was the tarantass that was most often used for long rides; people rode in it while lying down. Later the tarantass acquired springs.
The BRICHKA was much lighter than a bulky tarantass, but also withstood long trips - as can be judged by the chaise in which Chichikov rode around Rus'. Like the tarantass, the chaise had a folding top, sometimes wicker, sometimes leather - BUDKA. In the Chichikov chaise, the top of the body, that is, a kind of tent over the rider, was “drawn from the rain with leather curtains with two round windows designated for viewing road views.” The footman Petrushka sat on the box next to the coachman Selifan. This britzka was “quite beautiful, with springs.”
For a long time, the antediluvian springless chaises did not disappear - such as the boy Yegorushka rides in in Chekhov’s “Steppe”.
Gorky's Klim Samgin rides on a post chaise drawn by a pair of rough, red-haired horses.
Nowadays, a chaise is called a simple one-horse light cart.
DROZHKA got its name from the drozhki described above - long bars connecting both axles. Initially, it was a very primitive cart: you had to sit on top or sideways on a board placed on top. This kind of droshky was sometimes called SHAKER. Later, the droshky was improved and acquired springs and a body. Such droshky were sometimes called STROLLERS, due to their similarity. But neither the old nor the more advanced droshky were used for driving over particularly long distances. It was predominantly an urban crew. The mayor in “The Inspector General” goes to the hotel in a droshky, Bobchinsky is ready to run after him like a cockerel, 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, from which the air was filled with strange sounds.
Very often in Russian literature one encounters RACING DRESSES, or RUNNERS for short, two-seaters harnessed to one horse. Such droshkys were used by landowners or their managers to go around the estate, travel to their closest neighbors, etc., in a word, they replaced the bicycle, which had not yet appeared at that time. One of the riders drove the horse: for example, in “Dubrovsky” Troyekurov drives the droshky himself. Turgenev's Lasunskaya is dissatisfied with Rudin because he drives a racing droshky, at his constant trotter, “like a clerk.”
The city's CARRIER'S DRESSES were called PROLETNYY and soon shortened their name to the word "PROLETKA". Such a light two-seater carriage with springs and a lifting top could be seen in the cities of the USSR back in the 1940s. The expression “to ride in a cab” meant “to ride on a cab driver’s carriage,” and in winter, on a cab driver’s sleigh of a similar design.
City cabbies were divided into VANEK, RAVERS and something in between - LIVE. Vanka was a semi-impoverished peasant who came to work in the city, usually in the winter, as Nekrasov put it, on a “torn and starved nag” and with the appropriate cart and harness. The reckless driver, on the contrary, had a good, playful horse and a smart carriage.
Spring cabs appeared only in the 1840s. Before that, cab drivers had CALIBER DROSHES, or simply CALIBER. On such tracks, men rode on horseback, women sat sideways, since it was a simple board laid on both axles, with four primitive round springs. The single caliber was called GUITAR - due to the similarity of the shape of the seat. The cab drivers were waiting for their riders at BIRZHA - specially designated paid parking lots. Describing a St. Petersburg morning in “Eugene Onegin,” Pushkin does not miss this detail: “...A cabman is pulling to the stock exchange...”
KIBITKA is a very broad concept. This was the name given to almost any semi-covered, that is, with a hole in the front, summer or winter cart. Actually, a wagon was a name given to portable housing among nomadic peoples, then the top of a carriage made of fabric, matting, bast or leather, stretched over arches of rods. Grinev in The Captain's Daughter left home in a road cart. In the same story, Pugachev rides in a carriage drawn by three.
The hero of Radishchev's famous book travels in a carriage from St. Petersburg to Moscow. An interesting detail: in the wagon of those times we rode lying down; there were no seats. Radishchev sometimes calls the wagon a wagon; Gogol sometimes calls the Chichikov chaise a wagon, since it had a canopy.
“...Blowing up the fluffy reins, / The daring carriage flies...” - memorable lines from “Eugene Onegin”, a description of the beginning of winter with the first route. In the picture of the Larins moving to Moscow, “the wagons are loaded with a mountain” - these primitive carts were used for luggage.
RULER was originally a simple long droshky with a board for sitting sideways or on top, and if the board was wide enough, on both sides with their backs to each other. The same one-horse carriage is called in “Poshekhonskaya antiquity” by Saltykov - Shchedrin DOLGUSHAYA - SHAKER, and in L. Tolstoy’s “Anna Karenina” - ROLLERS, on which Levin’s guests go hunting.
Later, the ruler began to be called an urban or suburban multi-seat 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 routes were equipped with rain canopies.
The ancient bulky carriages were called KOLYMAGA or RYDVANA. In Krylov’s fable “The Fly and the Travelers” we read: “With luggage and with a family of nobles, / Four sobs / Dragged.” Further, the same crew is called a rattletrap. But in Russian literature of the 19th century, as in our days, both words are used figuratively, jokingly.
An interesting phenomenon has been observed in the history of material culture: objects used by humans become smaller and lighter over time. Take a look at the ancient dishes, furniture, clothes in the museum and compare them 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 single-horse, or less often double-horse, spring carriage, two-wheeled, without a sawhorse, with a high seat. One of the riders drove it. Konstantin Levin in Anna Karenina carries his brother in a convertible, driving himself.
The Russian SHARABAN had the same design. The heroes of Chekhov's “Drama on the Hunt” ride around in charabancs, two by two or alone. In Ostrovsky’s play “The Savage,” Malkov promises Marya Petrovna: “I will deliver you such a bityuk - it’s rare. In a charabanc, you will rule yourself, it’s expensive.” Women riding independently is becoming fashionable. The heroine of Chekhov's story “Ariadne” rode out on horseback or in a charabanc.
The two-seater, two-wheeled convertible was sometimes called TARATAIKA. In the preface to “Evenings on a farm near Dikanka,” the author recalls a certain Foma Grigorievich, who, arriving from Dikanka, “went into a hole with his new tarataika and a bay mare, despite the fact that he himself was driving and that, beyond his eyes , from time to time he put on store-bought glasses, that is, glasses.
Finally, a light carriage for one rider with a coachman in front bore the characteristic name EGOISTKA. In “Little Things in Life” by Saltykov - Shchedrin, Seryozha Rostokin “at two o’clock he got into his own egoist and went to Duso’s for breakfast.”
How did you travel in winter?
The oldest sleigh carriage with a closed body was called VOZOK. It provided the rider with all the comforts, except perhaps heating: a soft seat, warm blankets, light through the windows. In Nekrasov’s poem “Russian Women” it is not for nothing that it says about such a carriage: “Calm, strong and light / A wonderfully well-coordinated cart.”
They also rode in open sleighs ROSZVALNYA, or SHOVENNYA, a wide cart on runners, widening from front to back, without any special seating. They are well known to us, if only because the noblewoman Morozova sits in them in the famous painting by Surikov. Turgenev’s story “Old Portraits” tells how “just before Epiphany the master and Ivan (the coachman) went to the city in his troika with bells, wearing carpet treads” and what came of it.
Later, sled carriages began to have undercuts - iron strips nailed to the bottom plane of the runners.
They didn’t ride on DROVNYA, although they “renewed the path”: these were peasant cargo sleighs.
On Tatyana Larina’s name day, in January
...The neighbors gathered in carts,
In wagons, chaises and sleighs.

Everything is clear, except how it was possible to drive a wheeled chaise along a snowy road.
One should not think that in winter wheeled carriages, especially covered ones, stood idle. It is not known what happened to the famous Chichikov chaise, but in the second, unfinished volume of the poem, the hero already has a stroller. Coachman Selifan reports to the owner: “The road must have settled down: quite a lot of snow has fallen. It’s time, really, to get out of the city,” to which Chichikov orders: “Go to the carriage maker to put the carriage on the runners.”
Such transformations of a summer, wheeled, carriage into a winter, sleigh carriage were quite common. There is no doubt that the chaises of those who had gathered for Tatyana’s name day were put on runners. In Dostoevsky’s “Uncle’s Dream,” the prince’s huge traveling carriage fell onto the road: “... the six of us finally raise the carriage, put it on its legs, which, however, it doesn’t have, because it’s on runners.” In the same story, Maria Alexandrovna “rolled along the Mordasov streets in her carriage on runners.”
However, in large cities, where the snow from the pavement was partially cleared and partially compacted, it was possible to travel in wheeled carriages in winter. “Having fallen into a line of carriages, its wheels slowly squealing in the snow, the Rostovs’ carriage drove up to the theater,” is how the Rostovs’ winter trip to the opera is described (Tolstoy’s War and Peace). In “The Queen of Spades”, carriages travel around St. Petersburg in winter, clearly on wheels, and not on runners. At the beginning of L. Tolstoy’s story “Cossacks” there is a phrase: “Rarely, rarely is the screeching of wheels on a winter street heard.”

What is unclear from the classics, or Encyclopedia of Russian life of the 19th century. Yu. A. Fedosyuk. 1989.

Lightweight convertible stroller

The first letter is "f"

Second letter "a"

The third letter is "e"

The last letter of the letter is "n"

Answer for the question "Lightweight convertible stroller", 6 letters:
phaeton

Alternative crossword questions for the word phaeton

Poem by V. Bryusov

Bird on the state symbols of Seychelles

Type of carriage

Hypothetical planet that once existed between Mars and Jupiter

Car body with soft top

Equestrian analogue of a convertible

Definition of the word phaeton in dictionaries

Encyclopedic Dictionary, 1998 The meaning of the word in the dictionary Encyclopedic Dictionary, 1998
in Greek mythology, the son of the sun god Helios. Driving his father's chariot, Phaeton could not restrain the fire-breathing horses, which, approaching the earth, almost burned it; to prevent a catastrophe, Zeus struck Phaeton with a lightning strike, and he fell, blazing...

Explanatory dictionary of the Russian language. D.N. Ushakov The meaning of the word in the dictionary Explanatory Dictionary of the Russian Language. D.N. Ushakov
phaeton, m. Lightweight stroller with convertible top. Hired cab driver's carriage (region). A small, well-flying bird of the tropical seas (zool.). (Named Phaethon - the son of the sun god Helios in Greek mythology, who asked Helios for permission to travel once...

Wikipedia Meaning of the word in the Wikipedia dictionary
Phaeton ("brilliant", also Phaephon) - in ancient Greek mythology - the son of Helios and Klymene; or the son of Clymenes and the galaxy of Merope. He asked his father Helios for permission to drive the solar chariot, but his team destroyed him: the horses of an incompetent driver...

Examples of the use of the word phaeton in literature.

I am afraid that without the calculations of Agathocles and the slave assistants called upon to perform simple work, the creation of new lenses is a matter of a long time, and the equipment I have does not allow me to judge the existence of satellites Phaeton.

A Phaeton, whose fire steals golden curls, 320 strives into the abyss and, completing a long journey through the air, rushes, just as a star falls from the transparent sky, or, rather, may seem to fall.

At first phaeton Kurdyumov and Golovnya sat down, placing the bag on the carpet at their feet.

But then suddenly your father demanded that they send for him phaeton, although the distance between the houses of Degen and Margulis is no more than a quarter of a mile.

He now walked timidly on the ground, not knowing where he belonged, for long days he lived with Federatovna as a household master, which Bostaloeva, for an unknown reason, rejoiced at and laughed throughout the entire road together in the steppe. chaise, and Umrishchev only avoided her in the narrow place of the seat.

meaning, definition of word

STROLLER, -i, w. 1. Spring four-wheeled carriage with a convertible top. Ride in a stroller. 2. A small hand cart for children to ride. Children's room 3. Small cart for special purposes. Motorcycle with sidecar. K. disabled person. II decrease stroller, -i, f. II adj. stroller, oh, oh.

Morphology

• Noun, inanimate, feminine

Books

...a carriage pulled by a pair of pretty Vyatka horses rolled along. In the carriage sat the lady Elena Egorovna Strelkova and her manager Felix Adamovich Rzhevetsky. The manager deftly jumped out of the carriage, sole...

...oh, not only people, but even houses sometimes have such an appearance) - they brought the stroller. The coachman straightened the reins, and the groom waved a broom over the pillows and rug, and then, lifting his sleeveless shirt, brushed...

...from the N-sky monastery a carriage pulled in, loaded with four well-fed, beautiful horses; The hieromonks and novices, standing in a crowd near the noble half of the guest building, were still heard from a coachman...

Words close in meaning

• STROLLER MAN, a. m. A disabled person using a special wheelchair. II wheelchair user
• DISABLED, oh, oh. Relating to disability, the condition of a disabled person. Disabled carriage. I. house (shelter for the disabled).
• OPORNIK, -a, m. A person suffering from a disease or defect of the musculoskeletal system. Wheelchair for support workers.
• CREW, -a, m. Light non-freight spring carriage, stroller. II adj. crew, oaya, -oe.
• PHAETON, -a, l". 1. Light stroller with a convertible top. 2. Type of passenger car with a convertible top (special). II prsh. fa-ethnic,...
• MOTORCYCLE, -a, m., (obsolete) MOTORCYCLE, -a, m. and (yctap.) MOTORCYCLE, -i, f. An open transport vehicle with two or three wheels...
• LOWER, -I will feel, -You will hear; -strung; owls 1. someone or something. Move to a lower position. O. flag. O. curtain. O. hands (also...
• RIDE, -ay, -ay; rolled; nesov. 1. someone or something. The same as roll (in 1 value), but denotes an action performed in more than one...

In Asia, carts have been used for a long time, along with riding and pack animals. The Greeks in Homer's time used chariots. Details of the design of ancient carts remain unknown; only the external shape 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 to transport goods. Thus, Homer tells that Nausicaä asked her father for a cart to take her and her friends to the seashore to wash their clothes. Carts of this kind came with two and four wheels: Pliny attributes their invention to the Phrygians. The wheels of such a “plaustrum” were firmly mounted on axles, which rotated with them, like our railway cars, in bearings fixedly attached 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 postal race; royal messengers quickly carried orders in other ancient states, but more details are known about the properly organized transportation of passengers on horseback only from the time of the Romans. This type of carriage was maintained by private people (crew; "cisium") and was two-wheeled, with a drawbar, like a convertible, but without springs, with a seat suspended by straps. They climbed into it from the side of the horses, and not from the back, as in chariots; images of cysium are already found on Etruscan vases. They traveled in such carriages very quickly: according to Suetonius, the emperor traveled in the light “meritoria vehicula” for distances of up to 150 centuries. per day.

V. Serov. Odysseus and Nausicaa

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 gods were also carried in special chariots during processions. Private individuals arrogated to themselves this right only in times of decline 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-wheeled open cart; for women it was made on two wheels. Equally ancient are the stretchers, which were later given such a luxurious design that Caesar considered it necessary to issue a law limiting this luxury.

Engraving of a stagecoach in the black and red colors of the Post Office in the vicinity of Newmarket, Suffolk in 1827. A guard is visible from behind.

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

Salvador Dali - The Phantom Carriage

During the era of migration of peoples and at the beginning of the Middle Ages, the use of a carriage was considered a sign of effeminacy; travel was made on horseback, and clergy and women rode donkeys. Chroniclers of this era only very rarely mention crews. Thus, Egingard narrates that the Merovingian king Chilperic rode everywhere in a Roman carpentum drawn by oxen; English Bishop St. Erkenwald in the 7th century. traveled and preached in a wheeled cart, as he was old and weak. Only after the Crusades did the fashion for carriages begin to revive, but they were allowed only for special occasions, for high-ranking officials, and ordinary people were prohibited from using them.

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

A cart is the most general collective name for various vehicles driven by the muscular power of animals, regardless of the design features, area and purpose of use.

According to the area of ​​application, carts are divided into passenger and cargo (previously there were also military carts), according to the number of wheels - into two-wheeled (single-axle) and four-wheeled (two-axle), and also without wheels - on runners.

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

The carrying capacity of the cart can reach up to 750 kg (for single-axle ones) and up to two tons (for two-axle ones).

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

PASSENGER CARRIAGES.

Crew types.

Coach- a closed passenger carriage with springs. Initially, the body was suspended on belts, then springs began to be used for suspension (from the beginning of the 18th century), and from the beginning of the 19th century, springs began to be used. They were most often used for personal use, although from the late Middle Ages in Europe they began to be used also as public transport. An example is the stagecoach, omnibus and charabanc. The most common type of stagecoach can be considered a mail coach.

The word “carriage” came to Russia along with German carriages, when, from the middle of the 17th century, they began to be imported en masse by German merchants and became increasingly 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, “cracker”), and the word was also 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 trips with sleeping places.
DORMEZ (translated from French as “sleeping”) was a spacious carriage with sleeping places, intended for long trips. L.N. had such a carriage, inherited from his parents. Tolstoy, as his eldest son recalled, was pulled by six horses. The road carriages had VAZHI, or VASHI, at the top - boxes for luggage, and at the back there was a HUMP, which also served to place luggage.

Pannemaker Adolf. “Dust rose from under the dormez and hid the baby”: Il. to the poem by T.G. Shevchenko “Kobzar” (translation by N.V. Gerbel). Engraving from fig. N.N. Karazin. 19th century

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

Military carts* - assigned to field troops for transporting military supplies, spare items and tools necessary to maintain equipment in good condition on the march and in battle, provisions, fodder, office supplies, cash treasury, sick and wounded.
In general terms, they consist of a course on which the body or box of the cart is mounted; the passage is formed from a main frame made up of several longitudinal beds connected to each other by transverse pillows; axles with wheels are attached to the latter.
Military carts* for transporting essential items travel along with the troops, forming a convoy of the 1st category; this includes: 1) charging boxes, single-horse shell and paired cartridge gigs (ammunition supplies), 2) military tool carts* (travelling forge, tools for horseshoes), 3) pharmacy gig; 4) hospital line and 5) officer's gig.

Elizaveta Petrovna's winter cart. Moscow, 1730s.

“The winter cart was made in Moscow by the French master 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 constantly 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 court to St. Petersburg, and, probably, it was for this historical move that the winter cart was made. However, on the walls and doors of the cart is the monogram of another empress - Elizabeth Petrovna. It reminds us that in this carriage in 1742 the daughter of Peter I came to Moscow for her coronation.
The journey took only three days. The wagon, or as it was called the “winter line,” could comfortably accommodate ten people and was heated along the way with silver braziers filled with coal.
The windows and doors of the cart are covered with narrow plates of glass. The walls are decorated with ornamental paintings with attributes of state power. The runners are decorated with large figures of sea animals. In the form of the carriage, although to a small extent, one can trace the inherent Baroque love for the picturesque silhouette.”

Winter cart (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 soft blue background, looks like an elegant toy. “Poteshnaya” was the name given to carriages that were intended for entertainment. According to the “Inventory of the Tsar’s Stable Treasury,” the carriage belonged to two-year-old Tsarevich Alexei, the son of Peter I. Despite its belonging to toys, the carriage was made according to all the rules and with all the subtleties of a complex technical solution. It has a device for turning - a “swan neck” - and a turning circle. The “amusing” carriage is in no way inferior to real carriages in its refined form and subtlety of decoration, which emphasizes the high social status of its little owner.

BERLINE type carriage

The elegant four-seater Berlina was used for important ceremonial trips of Catherine II. It was made by the famous St. Petersburg master of German origin Johann Conrad Buckendahl in 1769 and equipped with the latest structural and technical details of that time - 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 mirror glass. On the front and rear 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.

Kolymaga

Kolymaga 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 is reflected in both the form and decoration. National originality was especially clearly reflected in the decor of the rattletrap. The body of a strict silhouette is covered with crimson velvet and decorated with a pattern of squares filled the entire surface, lined with gilded copper studs with convex caps. In the center of each square, an ornament in the shape of an eight-pointed star made of silver galloon, characteristic only of Russian crews of that time. The combination of crimson velvet with silver and gold creates a surprisingly harmonious and festive appearance of the carriage, 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 Rus' for its extraordinary splendor of the pattern. The first owner of the crew was the Bryansk headman, a citizen 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 "amusing" cart

The Winter Fun Cart is a unique carriage created in Moscow in 1689-1692, the likes of which are not found in any museum in the world. The cart is a “room” with small windows and fairly wide doors on runners for ease of movement in the snow. The “amusing” cart served for games and fun for the young children of Tsar Ivan Alekseevich, brother and co-ruler of Peter I. The shape of the body 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 craftsmen from the Moscow Kremlin. An embossed gilded relief pattern of flowers and fruits covers the entire surface of the walls and doors. The elegant carriage was perfect for the winter fun of the royal children and at the same time corresponded to the high status of the owners, which was emphasized by the sophistication of expensive decoration and high craftsmanship.

Armouries

The Armory Chamber's carriage collection is a pearl among museum collections.

The collection of carriages stored in the Armory Chamber has no analogues in other collections; it allows us to trace the development of carriage business in Russia and Western Europe. The value of the collection lies in the fact that the crews have not undergone major alterations, the ownership of the crews and the names of their creators are known - I.K. Bukendahl, I.M. Goppenhaupt, N. Pino, F. Boucher, F. Caffieri. Based on the carriages from the Armory Chamber's collection, one can judge the changes in the shape, design and decoration of carriages during the 16th - 18th centuries.

The Armory Chamber's carriage collection is a pearl among museum collections. It has seventeen crews created between the 16th and 18th centuries 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 making, without studying which it is impossible to comprehend the artistic culture of Russia and Europe of the 16th, 17th and 18th centuries. The crews of those times were not just an elite form of transport. For the most part, these are monuments of art, which organically combine wood carving, painting, casting, artistic leather processing, jewelry craftsmanship and even architecture.

Summer stroller
A summer stroller 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 folding 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 stroller is decorated with carved figures of eagles with outstretched wings. At the back are figures of horsemen in helmets and chain mail, already created by Russian masters, with spears in their hands. The carving, covered with thick gilding, gives the impression of metal casting. On the walls of the carriage are images of ancient gods. On the sides are Amphitrite and Fortune, on the back wall is Apollo among the muses. This carriage can be considered one of the best works of world carriage art.

Kolymaga
An English carriage made at the end of the 16th century - a gift from the English king James I to Boris Godunov in 1603. The most ancient crew of our collection. The carriage is still simple in shape, its design and technical structure are imperfect, it does not have a turning circle. To turn the carriage around, a fairly large area was required, and when turning sharply, the rear wheels had to be lifted by hand. The carriage does not have 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 turning circle - was called rattling carriages in Russia. The carriage is interesting due to its artistic design - high-relief wood carvings depicting scenes of the struggle of Christians with Muslims and scenes of hunting.

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

Coach
The carriage is closed, double, coupe type. The body is suspended on long straps. The carriage was made by Viennese craftsmen by order of the Russian court in 1740. Carved decor occupies the main place in 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
The carriage is closed, double, coupe type. The body is suspended on long straps. Made by Viennese craftsmen in 1741 - 1742.
The artistic design and technical data are typical for ceremonial carriages of the 1740s.
The carriage is covered with thick, gilded carvings in the Rococo style with allegorical and mythological subjects.
It was ordered specifically for the coronation ceremony of Empress Elizabeth Petrovna.

Coach
The carriage was beautifully made in 1746 by the Berlin master Johann Michael Goppenhaupt. The carriage gives the impression of lightness and grace thanks to the skillful wood carvings depicting laurel leaves, curls, shells, and sculptures of mythological deities. The body shape and decor clearly show the features of the Rococo style. Its body is suspended on six belts, has springs and a turning circle. 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 renewed many times

"Coure" type carriage
The "coure" type carriage was made in St. Petersburg in 1739 for Empress Anna Ioannovna.
Baroque scrolls and shells are combined with ancient Russian patterned rosettes and double-headed eagles.
The edges of the body walls, curved cornices, window and door frames are decorated with very fine gold carvings.
In terms of its technical solution, the carriage resembles French-made carriages, but mirror glass is already inserted into the windows.

Winter cart "amusing"
The cart is small on runners. There are no such carriages in any museum collection in the world. The body of the cart retains the ancient traditional shape. The walls are upholstered in gilded embossed leather, which is abundantly covered with floral ornaments, which include 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. Copper nails with large heads are used to decorate the cart in Russian traditions. Mica is fixed in tin-framed windows. The cart served for games and amusements of the young children of Tsar Ivan Alekseevich, half-brother and co-ruler of Peter I.

Summer cart "amusing"
It has an elegant baroque shape. The walls are upholstered in blue embossed leather, which is abundantly covered with gilded floral patterns, which include 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 design of the carriage was quite advanced for that time. It has a device for turning a curved swan neck beam above the turntable. Copper nails with large heads were used to decorate the cart. They secure the leather to the body and trim the frame bindings. The windows have tin frames and mica. The cart belonged to the son of Peter I - Alexei Petrovich.

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