Additional Information. Some noblemen of the late 19th century with this surname. At the end of the line - the province and county to which they are assigned. Some are described below.
Strukov, Aldr Pet. Ekaterinoslavskaya province.
Yekaterinoslavsky district.
Strukov, Anan. Pet. Yekaterinoslav. Ekaterinoslavskaya province. Alexandrovsky district. Nobles who own real estate.
Strukov, Ananiy Pet., Kmrg., Dss., Yekaterinoslav, part 1. Ekaterinoslavskaya province. Yekaterinoslavsky district.
Strukov, Dm. Vas., Ing. tech., chl. uyezd. Zemsk. councils, Zemlyansk. Voronezh province. Zemlyansky district. Included in the genealogy book.
Strukov, Mitrof. Iv., Prch. Kharkov province. Starobelsk district. Yy. nobles with the right to vote.
Strukov, Mod. Yves. Kharkov province. Starobelsk district. Yy. nobles with the right to vote.
Strukov, Nikl. Dm., Architect, Moscow, M. Bronnaya, Hirsh village, Moscow province.
Strukov, Nikl. Iv., Cr. Kharkov province. Starobelsk district. Yy. nobles with the right to vote.
Strukov, Pav. Philip., Cr. Voronezh province. Nizhnedevitsky district. Introduced into the genealogy book.
Strukov, Pet. You, Mr., Chl. provinces. Zemsk. councils of Voronezh, Epiphany, Griboyedov village. Voronezh province. Zemlyansky district. Included in the genealogy book.
Strukov, Pet. Step., P. Trubetchino, Turkovsk. ox. Saratov province. Balashovsky district.
Strukov, Yak. Iv., Cr., Honorary peace. judge and deputy. yard., g Zemlyansk. Voronezh province. Zemlyansky district. Included in the genealogy book.
Strukova, Aldra Yak., Wife of the company. Voronezh province. Zemlyansky district. Included in the genealogy book.

Nikolay Strukov

Nikolay Dmitrievich Strukov (1859 - after 1926) - architect.

Nikolai Strukov was born in 1859 in the family of an artist-restorer, founder of the icon-painting school in the Trinity-Sergius Lavra D.M. Strukov. At the age of fifteen he entered the Moscow School of Painting, Sculpture and Architecture. In 1882 Strukov graduated from the School with a Small Gold Medal, receiving the title of a non-class artist of architecture.

In the second half of the 1890s, being the owner of a design and construction office, Nikolai Strukov began an active architectural career. Most of the buildings created by the architect are apartment buildings and mansions made in the Art Nouveau style. According to experts, he managed to work in all stylistic directions of the late XIX - early XX centuries. from eclecticism to neoclassicism.

But in 1913 his successful career ended unexpectedly. There was a construction disaster. Early in the morning in the center of the city, with a terrible roar, the wall of the merchant Titov, who was erecting in a hurry, seven-story tenement house, collapsed. There were no casualties. Without particularly understanding who is to blame, the court fined Titov 100 rubles (namely, he directly supervised the construction, saving on everything and for the sake of this it is impermissible to deviate from the design documentation), and the author of the project, N.D. Strukov, sentenced to a month and a half of arrest.

Strukov did not build any more. Since 1914 he was a member of the commission for the inspection and study of the monuments of church antiquity. After 1917 he taught construction.

Strukov's houses in Moscow

• Arbat, 11. Apartment house of the Private Lombard Joint Stock Company. N. D. Strukov, 1910-1911. Built in 1933.
• Bronnaya M., 2. The Golitsyn Manor - Profitable estate of Romanov and the Society for the benefit of needy students of the Moscow Imperial University. Zagorsky, 1870-1890s; N. D. Strukov, 1900s.
• Bronnaya M., 4 C2. Profitable property of Romanov. N. D. Strukov, 1900s.
• Vorontsovskaya, 6 (left). Reconstruction of the building for the placement of the City School. N. D. Strukov, 1912.
• Vorontsovskaya, 23. Apartment building. N. D. Strukov, 1890.
• Newspaper, 9 C3. Shop building. N. D. Strukov, 1910. Rebuilt in the 1990s.
• B. Gnezdnikovsky, 7. Martynova's apartment building. Strukov, 1889; Rosen, 1911; rebuilt in the 1990s.
• Monetary, 19. Changing the facade and expanding the Slonov mansion. N. D. Strukov, 1898.
• Zubovsky Boulevard proezd, 13. House of Chepelevskaya. N. D. Strukov, 1902.
• Kazakova, 23. An outbuilding in the possession of the Bronnitsky merchant Demin. N. D. Strukov, 1892.
• Kalashny, 2. Titov's apartment building - Multi-storey residential "House of Mosselprom". N. D. Strukov, 1911-1913. The building collapsed during construction. Completed by architects Kogan, Loleit, Tsvetaev, 1920-1923.
• Kaloshin, 4. Apartment building with shops. N. D. Strukov, 1897.
• Kolobovsky 1st, 17. Apartment building. N. D. Strukov, 1909.
• Kutuzovskiy proezd, 3. Mikhail's chapel at the Kutuzovskaya izba. N. D. Strukov together with Litvinov, 1912.
• Leningradsky, 5. Buildings in the possession of Yurasov. N. D. Strukov, 1899.
• Lubyansky, 7. The possession of Eliseev - Nekrasov. Skomoroshenko, 1876; N. D. Strukov, 1890s.
• Mamonovsky, 42. Factory building in the possession of Shablykin. N. D. Strukov, 1911.
• Merzlyakovsky, 15. The ensemble of apartment buildings Elkind. N. D. Strukov and Zeidler, 1901-1903.
• Molchanovka B., 18. The Tikhomirovs' apartment building. N. D. Strukov, 1904. Gilyarovsky's essays "Newspaper Moscow" are devoted to the evenings in this house.
• Molchanovka M., 6. The apartment house of V. B. Kazakov. N. D. Strukov, 1909.
• Obydensky 2 nd, 6. Complex of buildings of the Temple of Elijah the Prophet of the Ordinary. Sokolov, 1818-1819; Kaminsky, 1865-1868; N. D. Strukov, 1900s.
• Ozerkovsky, 9. Shukhardina's apartment building. N. D. Strukov, 1911.
• Ordynka M., 35. Sotnikov's mansion. N. D. Strukov, 1891.
• Oruzheiny, 43. Changing the facade of the Lobozev apartment building. N. D. Strukov, 1903.
• Ostozhenka, 42. Reconstruction of the apartment building of the breeder-rabbit breeder S.E. Golubitsky. N. D. Strukov, 1900, 1910-1911.
• Povarskaya, 8. Apartment house. N. D. Strukov, 1893.
• Pokrovka, 29. The apartment building of Babushkin. Kekushev, 1897; N. D. Strukov, 1909.
• Polikarpova, 19-21. Three-story officer corps at the Nikolaev (Khodynsky) barracks. N. D. Strukov, 1901.
• Cannon, 4 (in the yard). Reconstruction of the hotel by O.A. Turkestanova. N. D. Strukov, 1888.
• Pyatnitskaya, 18 С3. Apartment house. N. D. Strukov, 1913.
• Pyatnitskaya, 57 C2. Apartment house. N. D. Strukov, 1904.
• V. Radishchevskaya, 14. Reconstruction of the main house of the Popov-Simonov estate. N. D. Strukov, 1908.
• Sadovaya-Kudrinskaya, 18. Mansion Kapkanshchikova. N. D. Strukov with the participation of N.G. Lazarev, 1911-1912.
• Sadovaya-Kudrinskaya, 20. Reconstruction of an apartment building. N. D. Strukov, 1900s.
• Sadovnicheskaya, 9. Expansion of the basements of the Privalov house. N. D. Strukov, 1907.

Born in Moscow in the family of Mikhail Danilovich Strukov, from the age of twelve, he studied with one of the best tailors - Gusev. In 1830, during cholera, the family moved to Nizhny Novgorod, and after five years - in Verkhoturye, then - in Nizhny Tagil... Upon his return to Moscow, in 1840, Dmitry Strukov entered a drawing school (later the famous Stroganov School). In the fourth grade of the school, at the invitation of the head of the village Lyubertsy, he painted images in the iconostasis of the local church and a pencil portrait of the headman himself; drew a lot from nature.

In 1849, with his help, a drawing school was opened at Trinity-Sergius Lavra, which later became a well-known school of icon painting. In the same year, Dmitry Strukov compiled a "Guide to a Moscow shrine" - a detailed guide to Orthodox Moscow, which collected and systematized information about Moscow Orthodox shrines, compiled a complete list of miraculous icons

In 1850 D.M. Strukov was invited by the rector Sarov desert to draw the monuments of this monastery. Took part in the opening of a drawing school at Diveyevo convent... Since that time, he began to travel a lot across Russia, sketching the temples and monasteries of Nizhny Novgorod, Vladimir, Murom, western provinces; was in the Caucasus, in the Crimea.

In 1853, after completing the course of study, he received the title of non-class artist in portrait watercolor painting. At the same time, he made a copy with Grebnevskaya icon of the Mother of God from Grebnevskaya church on Myasnitskaya, which was presented to the emperor and the artist was rewarded with a ring with diamonds and an open certificate for painting antiquities in monasteries and churches.

Since 1858, he began to publish the magazine "School of Drawing", in which he placed drawings from ancient letters ( drop caps) and splash screens ( miniatures , politypages) and other monuments with short articles on ancient Russian art. The magazine was published by him until 1863; the debt formed from the publication, Strukov then paid off for almost 25 years.

In 1859 he was invited to Armory for copying museum monuments; from 1860 he was approved as an artist of the Armory. In this position, he restored 13 ancient banners from the museum's funds. At the same time, Strukov was dismantling the collection. P.I.Sevastyanova transmitted to Rumyantsev Museum.

D.M.Strukov was forced to teach a lot in various educational institutions: in the Sergiev School at the Moscow Committee of the Imperial Philanthropic Society (1870s - 1880s), Moscow University (1873), in the 3rd female gymnasium, Moscow Commercial School... He developed a special teaching method that made it possible to quickly teach any person to draw; in the form of experience, 200 soldiers were trained in them in a short time Pernovsky regiment... for this method he was awarded a silver medal at the All-Russian Exhibition in Moscow and was soon elected a member French Academy of Fine Arts.

In 1860 he participated in the restoration of the cathedral New Jerusalem monastery.

At the invitation of the church authorities, he recorded in drawings such an Orthodox celebration as the opening of the relics in 1861 Saint Tikhon in Zadonsk.

Buried on Donskoy Monastery cemetery... The grave is lost, but one of the surviving gravestones with completely lost inscriptions could have belonged to him, if we assume that the monument was erected by his son-architect.

Great interest and scientific discussions were aroused by the icon of Christ, presented through the media in 2000, found on the slope of a mountain range near the village of Nizhniy Arkhyz in Karachay-Cherkessia. This icon, called "Arkhyz Face", was the subject of many television and newspaper reports. Alas, as is often the case in such cases, instead of objective information, many myths and conjectures have appeared around the acquired icon. So, already in the first TV report of ORT (October 2000), it was said about some kind of "collapsed rock", as a result of which, supposedly, the appearance of a face became possible. In the same row (under the characteristic heading "Sensation") is the statement of the newspaper "Top secret" (December 2000) about the numerous monastic cells around the Arkhyz face.

This unique icon was much less fortunate with scientific research that would help answer many unclear questions, primarily the question of the time of its creation. That is why I read with great interest the article by LL Dolechek "The Rock Icon in the Arkhyz Gorge", published in No. 1 of the magazine "Zhivaya Starina" for 2002. This article, at first glance, differed from newspaper reports in a more thorough and correct approach, especially since at the end of the article the author notes that "it is possible that our assumption about the author of the Arkhyz Face is still insufficiently substantiated." Having become acquainted with the arguments that Dolechek L.L. cites to prove his hypothesis, one can, perhaps, agree with this assessment, since a number of obvious errors and inaccuracies were made in these arguments.

Thus, the author asserts that the letters IC preserved on the icon are not Greek, but Church Slavonic, and the title above them is not straight with delimiters, but curved, in the form of a “poker.” Therefore, the image was made not by a Byzantine, but by a Russian icon painter. " This is an obvious stretch, since neither in Byzantine nor in Russian icon painting was there a specifically Greek or Church Slavonic form of the outline of these letters. To be convinced of this, it is enough to look at the Byzantine icons, on which this part of the naming and the title over it is made absolutely identical to the "Arkhyz face" - for example, the mosaic icons "Christ on the throne" (end of the 9th century, St. Sophia Cathedral, Constantinople), " Christ Pantokrator "(11th century, Church of the Assumption of Our Lady, Nicaea) and the Sinai icon" Our Lady of Bematarissa ", painted by a Byzantine iconographer in the late Comninian style (early 13th century).

So the shape of the letters IC, which was part of the naming of the icon of Jesus Christ, in this case can in no way serve as a "determinant of the nationality" of the icon painter.

It seems too categorical and the following statement of LL Dolechek: "The one-time work of the painter is undoubted. There are no additions or corrections." But a computer analysis of Lik's photograph made it possible to find 2 areas on it that stood out in the intensity of their color. Further studies, in particular microprobe analysis of cross-sectional sections from these areas, showed the presence of two layers of paint on them, in contrast to the main image applied in one layer. The study of the paints of the upper layer allows us to speak of the latest (not earlier than the second half of the 19th century) renovations of these areas of the icon, while the main image was made with the help of dyes used since ancient times.

By the way, the presence of the Lik's later renovations can also explain the fact that the icon has a bristle from a brush, dried into a smear of white paint.

An undoubted mistake is the fact that L.L.Dolechek calls the "Arkhyz face" a rock fresco. Specialists in fresco painting, who examined the icon, unanimously assert that this is not a fresco, also because there is no artificial underlying layer (soil) under the paint. The paint was applied directly to the surface of the rock, and some areas of Lik were left completely unpainted, and their color is due to the color shades of natural mineral formations on the surface of the rock. Having studied the character of paint shedding, the same experts expressed the opinion that the "Arkhyz face" was made in the technique of icon tempera.

As the author himself notes, the most compelling argument confirming his hypothesis "is the history of the specific watercolors of the Aleksandro-Nevskaya Zelenchuk desert", which, as he assumes, belongs to the brush of the artist Dmitry Strukov. But this statement is unfounded, since such a watercolor is unknown to any of the researchers (including L.L. Dolechek). There is only a lithograph of a general view of the monastery, published in 1904 in Odessa (the model for which, according to the author, was made by Strukov). Many researchers worked with the archive of D.M. Strukov, located in Moscow and St. Petersburg. It has been reliably established that it does not contain a general view of the Zelenchuksky monastery, which could have become a model for lithography in 1904. We can only regret that the author is not familiar with the results of the work of previous researchers, or with the archive itself - this would have helped him avoid many mistakes (so, contrary to the statement of L.L. Dolechek that "until now the only date of Strukov's stay in Arkhyz was considered 1886", in the works of the American professor L.Zgusta and the Russian archaeologist V.A. fortified settlements - 1888).

However, in order not to tire the reader with the enumeration of numerous mistakes and inaccuracies, let's better get acquainted with a brief biography of an interesting person - artist, archaeologist and church historian Dmitry Mikhailovich Strukov. This acquaintance will help us to answer the main question - could Strukov have been the author of the model for the lithography of the general view of the monastery and the "Arkhyz Face".

The name of this man, who has done a lot for the good of Orthodoxy and Russia, is now, unfortunately, almost forgotten. Dmitry Mikhailovich was born in Moscow in 1827. Fascinated by drawing from childhood, he became a full-time artist of the Moscow Armory Chamber already in his mature years, where he worked almost until his death. His other hobbies were church archeology and history. As one of the founders of the Moscow Archaeological Society in the 1860s, he was elected a corresponding member of this society. In 1868 Strukov for the first time, on behalf of the MAO, went to the archaeological excavations in the Crimea, and since then he fell ill with Taurida. The Crimean excavations of 1871 were especially fruitful for Dmitry Mikhailovich. This year, he made a splendid archaeological discovery by excavating the foundation of an ancient basilica in Partenit (near Ayu-Dag). Near her altar Strukov found a stone slab with a Greek inscription, which mentioned the name of the "pillar of Orthodoxy of Taurida" John of Gotha. And already in 1872, his book "On Ancient Christian Monuments in the Crimea" was published in Moscow, in which Strukov describes in detail the results of his research.

Studying in parallel with church history, in the 1870s he wrote the book "Lives of the Saints of Tauride Wonderworkers", which went through several editions (this is why some Moscow newspapers called Strukov "the singer of Orthodox Taurida"). In the same years, Dmitry Mikhailovich was elected a member of the Simferopol Orthodox Alexander Nevsky Brotherhood.

In the early 1880s, Strukov became seriously interested in the Christian antiquities of the Caucasus. And so, in 1886, again on the instructions of the archaeological society, the tireless explorer travels to the North Caucasus, where in a remote mountain gorge there were the ruins of ancient Christian temples, until then little known to anyone. But in 1886, the construction of a monastery began at the temples, the founder of which was the Russian hieromonk Father Seraphim (Titov), ​​a native of Athos. Having lived in Arkhyz all autumn, Dmitry Mikhailovich worked hard, cleaning the walls of Zelenchuk temples from the soot of fires and dust with the help of monks. The remains of ancient frescoes revealed during this process were carefully redrawn by him and subsequently compiled a whole album (architect # 273). Returning to Moscow, Strukov made a report "On ancient churches on the Bolshoi Zelenchuk River in the North Caucasus" at the congress of the Archaeological Society.

Once having visited this amazing place, Dmitry Mikhailovich with all his heart became attached to it, and in 1888 he made a second trip here. Its result was an even more impressive album with sketches of frescoes and views of the monastery (no. 339) and a description to it with a historical introduction (later, on its basis, Strukov wrote an article "About Christianity in the area of ​​the former Tmutarakan principality", published in 1888 in "Moscow Diocesan Gazette").

In addition to his other works, Dmitry Mikhailovich wrote for the reviving monastery a copy of the miraculous icon of the Mother of God Grebnevskaya (the Grebnev icon was presented to Dmitry Donskoy, who was returning victorious after the battle on the Kulikovo field of the Cossacks of the city of Grebnev, this icon was considered the patroness of the mountains). It was consecrated on September 24, 1888 in Moscow, in the Assumption Church. An unknown donor adorned the icon with a silver chase with fine enamel work in the ancient style. The icon was delivered to the Zelenchuk desert on November 10, 1889 and eventually became one of the main shrines of the monastery.

But the years took their toll, and the long-distance expeditions were more and more difficult for the artist, who was not distinguished by good health. The last of them he made in 1892, having visited the Crimea so beloved by him. After that, Strukov lived in Moscow without a break, working in the Armory. He was often ill and died quietly on February 1, 1899, at the age of 72. Dmitry Mikhailovich was buried in the cemetery of the Donskoy Monastery.

Now the Simferopol Diocese is republishing Strukov's book "Lives of St. Tauride Wonderworkers", there is a hope that the name of this ascetic will not be forgotten in Russia!

From the biography of D.M. Strukov it absolutely definitely follows that his last trip to the Zelenchuksky monastery he made in 1888, and after 1892 he did not leave Moscow at all. So what about "the author's most compelling argument" - the lithograph of 1904, which depicts the renovated working Middle Church. After all, it is reliably known that its opening took place in 1897, which is evidenced by the inscription on the slab originally mounted in the western facade of the temple (the slab was discovered by the archaeologist V.A. Kuznetsov in 1971). At the same time, the indicated lithograph does not show the largest building of the monastery - a hospice (for some reason the author calls it strange parish), fully completed by 1904. Consequently, the time of creation of the lithograph model can be dated to the period 1897-1904.

These facts provide reliable evidence that D.M. Strukov has nothing to do with the lithograph model of the general view of the monastery in 1904. did not have.

So the author's conclusion that "At the beginning of autumn 1890 .... a water color of the general view of the monastery is written (the one that served as the basis for the typographic copies), and along with it, as we assume," Arkhyz face ", should also be considered completely arbitrary.

Nevertheless, there is no doubt that the article by LL Dolechek in the journal "Zhivaya Starina" is useful, because it again attracts the attention of all interested researchers to unraveling the mystery of the "Arkhyz face". But attempts to solve this, it seems to us, should be conducted only on the basis of reliable historical and archival sources, with the involvement of data from modern scientific research.