Fontanka, 34
No matter how much I honor Akhmatov, no matter how much I love Gumilyov, I have a special relationship with the son of these great Russians - Lev Nikolaevich, which has nothing to do with worshiping a glimpse of glory. He not only overcame the force of attraction of the name of his parents, but also accomplished the main thing: he was realized, fulfilled.
This great Eurasian is a whole chapter of Russian historiography. You can accept or not accept his teaching about passionarity and its bearers - he did not claim to be absolute - but one cannot fail to recognize in his unique personality a living, vivid embodiment of "unbowed", unbroken Russia.
I saw him only once.
June 1989 In the courtyard of the famous house on the Fontanka embankment, there is nowhere for an apple to fall: the celebration of the opening of the long-awaited Akhmatova Museum is in full swing. On a light impromptu platform, among the fathers of the city and the literary elite, there is an old man with an Akhmatov profile and the fearless face of a sage.
- Gumilyov? - I ask a friend, the St. Petersburg historian Muratov.
Yes, Gumilyov.
Only about three hours later we managed to get into the museum and, shocked, tired of what we saw and heard, we slowly walked along the embankment. The old man with the eagle eye never left my memory.
– Do you know him?
- A sign. But a captive acquaintance.
“Well, tell me anyway.
I clarified the request: I was not interested in the historian Gumilyov (I have read everything that can be read) - I was interested in Gumilyov-man, although both are inseparable and merged.
Muratov thought for a moment, then lit a cigarette, slowly began:
“I know him from university, but one day business brought me to his house. Ordinary utility. Five or six rings and inaudible old women in the corridor. They received me cordially: they dined and invited me. At the table, besides Lev Nikolaevich and his wife, sat an unshaven, tipsy old man. We were introduced. "Kozyrev," he introduced himself, shaking my hand and alienatingly pushing back his chair. But after the second call "on a little" he became kinder and no longer paid attention to me. And after the third glass, he suddenly asked the owner: “What did you say then?” Lev Nikolaevich was embarrassed and, looking at me, slightly grazing, replied: "But I said that you did the right thing." Kozyrev chuckled, sat for another two minutes, and left.
I didn’t ask questions, but Gumilyov, from the height of his experience, is philosophical about himself and people, and he himself explained the Kozyrev question: “Fate connected me with one rope to Nikolai Kozyrev and his younger brother, whom you had the honor to just meet. Senior
Kozyrev was taken because he was an astronomer not like everyone else, but the youngest - for company, or, more precisely, for a genealogical crime - for kinship. And so we ended up together in the same camp, at the same logging site. In the brigade, as usual, there was a snitch who killed many souls. We decided to remove. The lot was drawn by the younger Kozyrev. That's all. But since then, his soul has been hurting, and at each meeting he asks the same sacramental question.
In 1712 Saint Petersburg became the capital of Russia. Notable people began to move here under Peter I, among whom was Field Marshal Count Boris Petrovich Sheremetev. It was for the sake of such a resettlement that he was granted a plot of house No. 34 on the embankment of the Fontanka River. Peter donated land here so that the new owners would equip it, thus ennobling this area of St. Petersburg. In addition, the sovereign married the count to his relative A.P. Naryshkina.
The Sheremetev section stretched straight from the bank of the Fontanka all the way to the route of the future Liteiny Prospekt. Under Boris Petrovich, a wooden house and various outbuildings were built here, the family lived in their house on the Palace Embankment (the Novo-Mikhailovsky Palace was subsequently built in its place). In the late 1730s - early 1740s, a new one-story palace was built for the son of Boris Petrovich Sheremetev, Peter, on the site of the old wooden buildings. It was designed by the architect Zemtsov.
In the early 1750s, according to the project of S. I. Chevakinsky and F. S. Argunov, this building was built on the second floor. With Chevakinsky, Count Sheremetev paid for this work in 1751 with a pair of bay horses, and two years later - 100 rubles.
The Sheremetev Palace is located in the depths of the site, and the main courtyard was separated from the embankment by a metal fence. Along the edge of the roof, originally there was a wooden balustrade with statues on pedestals. In the center of the building there was a high two-span porch with two entrances, through which one could get directly to the second floor. At the entrance in 1759, two gilded wooden figures of horses by Johann Franz Dunker were installed on pedestals.
After the death of his wife and daughter, Count Pyotr Borisovich moved to Moscow in 1768. Despite the absence of owners, the estate continued to be rebuilt. In 1788-1792, she rented out to the Portuguese envoy, and then to Prince V. B. Golitsyn.
After the death of Peter Borisovich, the estate passed to his son Nikolai. Nikolai Petrovich spent a long time in Moscow, but in the late 1790s he began to live regularly in the capital. To update the interiors of his palace, he hired the architect I. E. Starov. In 1796, the count settled in the Fountain House. The Sheremetevs had their own theater and orchestra here. The performers were the most talented people from the serfs. In 1801, Nikolai Petrovich married one of these serfs, Praskovya Ivanovna Kovaleva. After Starov, the premises in the palace were rebuilt by D. Quarenghi and A. N. Voronikhin. On the territory of the estate, the Summer House, the Carriage Sheds, the Garden Pavilion were built, and service wings were rebuilt.
After the death of Nikolai Petrovich on January 2, 1809, the estate passed to his six-year-old son Dmitry Nikolayevich. At the initiative of Empress Maria Feodorovna, a Board of Trustees was created over the property of the Sheremetevs. M. I. Donaurov was appointed the chief trustee, whose family settled in the palace. In 1811-1813, according to the project of H. Meyer, on the site of the Orangery overlooking Liteiny Prospekt, the Office Wing and the Hospital Wing adjoining it were built. In 1821, the architect D. Kvadri built a three-story fountain wing with the main facade on the Fontanka. Between it and the Hospital Wing, the Singing Wing was built. The choristers of the Sheremetev Chapel were settled here.
During the service of Dmitry Nikolayevich in the Cavalier Guard regiment, his colleagues often visited the palace. The officers often enjoyed the hospitality of the count, the expression "live on Sheremetev's account" even appeared in the regiment. Artist O. A. Kiprensky often visited here among the guests. In the summer of 1827, Alexander Sergeevich Pushkin came here, and Kiprensky painted his most famous portrait in the workshop of the palace. On April 18, 1837, the wedding of the count and the maid of honor of Empress Alexandra Feodorovna Anna Sergeevna took place in the Sheremetev Palace. In 1844 their son, Sergei, was born.
For almost twenty years, the architect I. D. Korsini worked at the Sheremetevs. On May 16, 1838, a solemn opening of a cast-iron fence with a gate decorated with the coat of arms of the Sheremetevs took place. Corsini completely rebuilt the palace premises, in 1845 the Garden Wing was built. Musical evenings were held in the Fountain House. Glinka, Berlioz, Liszt, Vilegorsky, Schubert performed here.
Countess Anna Sergeevna died in 1849. In 1857, Dmitry Nikolayevich entered into a new marriage, in 1859 in which his son Alexander was born. A new reconstruction of the estate began. In 1867, the Northern Wing was added to the palace according to the project of N. L. Benois.
After the death of Count Dmitry Nikolayevich in 1871, the property was divided between his sons Sergei and Alexander. The fountain house went to Sergei Dmitrievich. In 1874, the architect A. K. Serebryakov worked at the Sheremetev estate, who built new five-story buildings here. As a result, the site was divided into two parts. Profitable houses (No. 51) were built on the side of Liteiny Prospekt, the front part remained on the Fontanka side (house No. 34). At the beginning of the twentieth century, work was completed on the reconstruction of the profitable part of the site. The Garden Gate, the Grotto, the Hermitage, the Greenhouse, the Chinese Arbor and other garden buildings were destroyed. In 1908, the Manege and the Stables were rebuilt into the Theater Hall (now the Drama Theater on Liteiny). In 1914, according to the project of M. V. Krasovsky, two-story trading pavilions were built here.
In 1917, the Sheremetev family handed over the house to the Soviet government. From mid-1924 to 1952, A. A. Akhmatova lived in one of the wings of the palace. Here in 1989, in honor of the century of the poetess, her museum was opened. It was Akhmatova who, in her poems, gave the second name to the palace - "Fountain House".
In Soviet times, the palace housed the Arctic and Antarctic Research Institute. Since 1990, a branch of the Museum of Theater and Musical Art has been located here. In 1999, after restoration, the White Concert Hall was opened in the palace, where classical music concerts are held.
On March 5, 2006, on the fortieth anniversary of the death of A. A. Akhmatova, a monument to her was opened near the Sheremetev Palace.
Russian railways intend to push the consequences of the growing freight traffic onto the Ladozhsky railway station - this will save money and not build an expensive bridge.
Valery Titievskiy/Kommersant
Today, all cargoes towards the ports of the northern coast of the Gulf of Finland pass through St. Petersburg. The number of freight trains is growing, they say in Russian Railways, and, suddenly abandoning plans to build a bypass, they offer to cope with this the only transit station in the city. Even at the cost of reducing passenger traffic. The idea seemed dubious to Smolny: the profile vice-governor Igor Albin is preparing an appeal to the federal government, and the city committee on transport is prescribing terms of reference for pre-project work on the construction of a bypass.
The northeastern railway bypass of St. Petersburg involves the construction of a branch line, presumably from the Pavlovo-on-Neva station to Losevo. From there, freight trains can deliver goods to the ports of the northern coast of the Gulf of Finland. These are, first of all, the Russian Vysotsk, which mainly specializes in transshipment of coal and oil products, and Finnish ports.
Today, cargo traffic goes through St. Petersburg - it captures the stations of Zanevsky Post, Rzhevka and Ruchi and goes north towards Losevo. At one of the last meetings of the interdepartmental working group for the development of the railway junction of St. Petersburg and the Leningrad Region, representatives of Russian Railways announced their desire to increase it. At first, this did not cause any negative: the railway workers proposed a list of promising projects, in which transit to the ports of the northern coast of the Gulf of Finland was painted very diplomatically:
– “Construction of the north-eastern railway bypass of St. Petersburg on the Manushkino-Toksovo section”;
– “A set of measures for the development of the railway infrastructure on the section Pavlovo-on-Neva – Zanevsky Post – Rzhevka – Ruchi – Losevo”;
- "Construction of the second bridge across the Neva on the stretch Pavlovo-on-Neva - Manushkino."
At first, the development of pre-project documentation for the first and third points was discussed, then the railway workers went to Moscow and made it clear that point No. 2 is preferred in the supreme rate of Russian Railways. That is, the reconstruction of the current route, which categorically does not correspond to the plans of Smolny. Because any reconstruction promises an increase in cargo traffic through the city, and the city does not need it at all. The current trend is aimed at bringing industrial and infrastructure facilities outside of it.
The current route of freight trains towards the northern ports of the Gulf of Finland through Rzhevka and Ruchi captures the Ladozhsky railway station. An increase in load means a reduction in passenger traffic, and no one in St. Petersburg can like this. A confidential source in the Oktyabrskaya Railway told Fontanka that the transport committee suggested that his colleagues wait a little while making a final decision: they say, let's make a preliminary project, determine exactly where the northeast bypass can take place, what money will be required for its construction, compare with the estimated costs for the reconstruction of the current infrastructure - and then we'll see.
But the railway workers shake their heads: the most ingenious preliminary project will not allow the new railway line to jump over the Neva - the new bridge will have to be built in any way, because Manushkino, located on the Pavlovo-on-Neva stretch, will not be able to cope with the increase in freight traffic. The reconstruction of the St. Petersburg part of today's route will certainly be cheaper - and, in any case, faster.
The vice-governor of St. Petersburg, Igor Albin, realized that it was time to complain to the Kremlin.
One is better than three
St. Petersburg officials proposed a counter diplomatic move: to replace three points, which now seem to them crafty, with one with a more “global” wording: “Construction of the northeastern railway bypass of St. Petersburg in order to pass transit freight traffic to the seaports of the northern coast of the Gulf of Finland and the state border of the Russian Federation.
In Smolny, they believe that such a call will contribute to the recognition of the optimal route of the northeastern bypass, which will be outside the urban area. As Fontanka was told in the Directorate for the Development of the Transport System of St. Petersburg and the Leningrad Region, Alexander Golovin, head of the transport committee, wrote to Vice Governor Igor Albin about this. The Transport Committee is preparing terms of reference for the relevant pre-project work: the department was offered to contact the Directorate - they say, they can do this work there. Smolny appealed with the wording “due to the funds saved in 2018,” but the head of the Directorate, Kirill Polyakov, predictably retorted: in 2018, he failed to save money.
The Directorate suggested that the Transport Committee prepare a ToR in order to try to raise money for the development of a pre-project in 2019. The New Year is rapidly approaching, so the committee set to work in a rush mode.
The Directorate for the Development of the Transport System was established by the governments of St. Petersburg, the Leningrad Region and the Russian Ministry of Transport. Recently, she has been the customer of several small projects (a feasibility study for a tram line in Kudrovo for or a project for 34 million rubles), so no one expects anything more than the development of pre-project documentation. With the most successful development of events along the northeast bypass, it will be ready by the end of 2019 - after which all interested parties will once again be faced with the need to look for money.
And no one will be able to prevent Russian Railways from starting, meanwhile, the reconstruction of the St. Petersburg part of this transit route. Except, perhaps, the government of Russia - it is no coincidence that Igor Albin demanded that the chairmen of the committees on transport and transport and transit policy Alexander Golovin and Sergey Kharlashkin prepare a draft appeal from the governor of St. Petersburg to the government of the Russian Federation "with the application of the necessary information materials" by September 24, 2018.
It is assumed that the desire of railroad workers to earn on increasing cargo flows to the ports of the northern coast of the Gulf of Finland at the expense of St. Petersburg will be curbed by the St. Petersburg prime minister.
The Fountain House is one of the most interesting sights of St. Petersburg, almost the same age as the city. The name "Fountain House" dates back to the 18th century. was assigned to the estate of the Counts Sheremetevs, built on a vast plot between the Fontanka River embankment and Liteiny Prospekt. S. I. Chevakinsky became the architect of the main manor house. It is possible that the drawings of F.-B. Rastrelli. The eminent architects of different eras participated in the creation of the interiors of the palace and manor buildings for several centuries: F. S. Argunov, I. D. Starov, A. N. Voronikhin, D. Quarenghi, H. Meyer, D. Quadri, I. D. Corsini, N. L. Benois, A. K. Serebryakov and others. Under the Sheremetevs, the Fountain House was one of the high-society centers of St. Petersburg, a meeting place for outstanding musicians, cultural and scientific figures. The Sheremetev choir chapel, created to accompany worship services in the house church of the Fountain House, was well known not only in Russia, but also in Europe. The palace was practically a museum of the history of the Sheremetev family, which for many centuries played an important role in the Russian state. Since 1990, the Sheremetev Palace has been one of the branches of the St. Petersburg State Museum of Theater and Musical Art. Within the walls of the palace, a Music Museum is being created, which is based on. Nowadays, in the halls of the Sheremetev Palace, you can see items from the Sheremetev collections, as well as works of painting and arts and crafts of the 18th-19th centuries, which came to the museum over the last quarter of a century.
Contacts
Address: Fontanka river embankment, 34
Information, applications for excursions and concerts: tel. 272-44-41, 272-45-24 (dispatcher, cash desk)
Concert and excursion department: tel. 272-32-73, 272-40-74
Working mode
Exposition "Enfilade of ceremonial halls of the palace" (2nd floor):
Thursday-Monday 11.00-19.00 Wednesday 13.00-21.00
Closed: Tuesday and last Friday of the month
from Wednesday (13.00-21.00) to Sunday (Thu, Fri, Sat, Sun; 11.00-19.00),
The box office closes an hour early
Days off: Monday, Tuesday and last Friday of the month
- Exposition "Enfilade of ceremonial halls of the palace" (2nd floor):
adult - 300 rubles, students and schoolchildren - 100 rubles, pensioners - 200 rubles,
- Exposition of musical instruments "Open Funds" (1st floor):
adult - 300 rubles, students and schoolchildren - 100 rubles, pensioners - 200 rubles,
children under 7 years old - free of charge, preferential categories of citizens - 70 rubles.
For free:
- visitors under 18 third Thursday of every month
- visitors with a St. Petersburg Guest Card, during the validity period of the card
- visitors from St. Petersburg CityPass free of charge during the validity period of the card
Tour ticket prices:
- For single visitors : - 400 rubles.
- For groups: from 2500 to 5000 rubles. per group, entrance tickets are paid additionally
Audio guide for the exhibition "Open Funds" - 50 rubles.
Staged photo session in the interiors of the palace (anniversary, wedding) 1 hour - 5000 rubles. registration by tel. 272-44-41 or 272-45-24
Please note that benefits are valid upon presentation of relevant documents.
Excursions
Museum of theatrical musical art and project of St. Petersburg "Single card of St. Petersburg citizen" from July 1, 2019 announce a loyalty program for cardholders - discounts for students and pensioners to visit all branches of the museum!
(emb. River Fontanka, 34)
Entrance student ticket - 80 rubles (discount is 20%)
Entrance ticket for a pensioner - 150 rubles (25% discount)
The holder of the electronic card is a citizen of the Russian Federation, in whose name the electronic card "United Card of St. Petersburg" is issued.
More information about the map on the site
*** DZN ("House of Miracles"). House of entertaining science.
/Continuation/.
* Exhibits.
(Uspensky: At first, the excursions were conducted by the authors of the exhibits themselves. And only after the form of the story was honed completely, it was adopted by ordinary guides).
(Uspensky: ... Kamsky warns me: from the cash desk he was informed that a professor at Leningrad State University, a famous physicist, had come to the House. More precisely, he was brought by his grandson, who had already visited us on a school excursion. The grandson was enthusiastic, the grandfather was skeptical. And now Kamsky asks to "put the professor in a puddle several times").
Miracles began already in the foyer: a bottle of boiling water (a Dewar vessel) stood on ice, and a spoon in a glass of tea dissolved before sugar.
(Mishkevich (1986): "perelmannaya" dishes. ... the spoon is made of Wood's alloy, melting at 68 degrees).
(Yakovlev: ... Here, for example, is a small box. Behind the glass, a clown swings tirelessly on the bars. ... Suddenly he stops. Following the instructions of the inscription, you put the box upside down, and the clown again comes to life for several minutes. ... Turn box, look at it from behind - and everything will become clear. There is an ordinary hourglass behind the glass ...).
(Mishkevich (1986): ... an old Indian geometric problem:
Over a quiet lake, half a foot above the water.
A lotus blossom rose.
He grew up alone, and the wind wave
I bent it to the side, and no more
Flowers above the water.
It was found by a fisherman's hand
Two feet from where I grew up.
How deep is the lake here?
I'll ask you a question...
... "Which other scientists set out problems in verse?" (It turns out that Lucretius, Shakespeare, the Greek geometer Aratus, the Italian scientists Alexander Gallus and Alexander de Villa Day, M.V. Lomonosov, Omar Khayyam, the Russian teacher E.D. Voityakhovsky and others) resorted to “poetic problems”.
"Technique - youth" 1941 No. 4. p. 58
(Mishkevich (1986): Square sheets of cardboard lined in a cage lay on the floor. Schoolchildren threw short needles at them with enviable persistence, doing this procedure dozens of times. Then they counted the number of intersections of the needles with lines on the cardboard and divided the number of throws by it, getting in private number "pi").
(Mishkevich (1986): The ceiling of the hall was a "millionaire" - the same one from the entertaining science pavilion).
On the ceiling of the "numbered chamber" were depicted many luminous circles. Making an attempt to count them, the sightseers could get a visual representation of the number - a million.
(Mishkevich (1986): ... On his / Perelman / advice, wallpaper was ordered - blue with golden polka dots. The order said: wallpaper should be pasted over 250 square meters of the ceiling surface. Each square meter should have exactly 4,000 peas. Printed at the factory with the help of a cliche, the right amount of wallpaper was not difficult.
So the unusual plan of Perelman was carried out - to show firsthand what one million is.
Most of the visitors compared the many yellow circles on the dark blue background of the ceiling with "countless" stars in the sky. To amaze the imagination of people entering the pavilion, the true number of stars visible to the naked eye in one hemisphere of the sky was circled in white. Overhead every night we see only about 2,500 stars up to and including 6th magnitude. The same number of circles - one four hundredth of their total number on the ceiling - and highlighted the circle outlined on it).
(According to Uspensky: Later, when the House of Entertaining Science was opened on Fontanka 34, the million turned into an apparatus, the handle of which could be turned by everyone. The device was made in such a way that it would take only 35 days of tireless work to reach the finish line).
(Mishkevich (1973): It was one of the most "treacherous" exhibits in the entire NDZ... Its purpose is to inspire visitors with the deepest and reverent respect for the number "million". Six dials were fixed on the arched stand, the gears of which were selected so that receiving a kind of gearbox with a gear ratio of 1,000,000: 1. In other words, in order for the arrow on the far right dial to make one complete revolution, the leftmost gear had to be turned a million times. ): "If you have some free time, you can turn the handle. While you make only one million turns, some forty days will pass. We warn you: forty days are based on the fact that you will turn the handle non-stop day and night, without breaks for food, rest and sleep. We wish you success!")
On one of the stands were located "perpetual motion machines". On the door of his office, Perelman posted an announcement: "For perpetual motion machines, please do not contact."
It was proposed to pass in absentia by a pedestrian route, without crossing twice the same of the 17 bridges connecting the islands of Leningrad (there were about 300 bridges in Leningrad at that time) (Mishkevich (1986): ... by January 1, 1984 there were 310 of them).
In the starship, made according to the sketch of K.E. Tsiolkovsky, one could go on an imaginary journey beyond the Earth.
(Mishkevich (1986): ... a two-meter model of a starship, made according to K.E. Tsiolkovsky's own sketch, sent at the request of Perelman. It was possible to enter the starship. Instruments were lit on the control panel ...)
Science and life 1973, no. 7, p. 44
//Anteroom of the Dance (White) hall//.
(Mishkevich (1968): A huge rotating ball hung from the ceiling, illuminated by a searchlight beam, like the Sun. This is how the Earth is seen from world space, from about 45-47 thousand kilometers. The arrows above the ball showed time on six meridians. Moving away from the ball for some distance, one could observe the change of day and night, sunrises and sunsets ...)
(Pinhenson: The layout of the Earth is located with the north pole down ... the relativity of the concepts "up" and "down" in world space).
(At Uspensky: ... instead of the Moscow optically perfect dome in the round hall of the astronomy department, under the ceiling, a completely plywood sky appeared, strewn with, if not countless, then very numerous punctures. The light of the lamps hidden behind the plywood lit our stars. The firmament was strengthened on a solid axis and When the motor was started, a "heavy roar" was immediately heard. And although, in addition, light penetrated between the ceiling and the curb, the reaction of the Leningraders was no weaker than the reaction of the Muscovites).
(Mishkevich (1968): ... department of astronomy. Excursions here were conducted in almost complete darkness. This, firstly, made it possible to illuminate exhibit after exhibit in turn, concentrating attention on them and not revealing all the "secrets" of the exposition at once, but in secondly, it disciplined the sightseers - all conversations fell silent ... the sightseers immediately fell into the "snare of Perelmanism").
(Mishkevich (1973):
Science and Life 1973, No. 7, p. 45
During the summertime, the activities of the DHN also took place in the garden at the House. In the photo (taken on September 17, 1939): the guide L. Nikitin and students of the 8th grade of the 7th secondary school of the Smolninskiy district N. Dushin (left) and V. Blagovestov at the 130 mm refractor telescope).
(Uspensky: /Sergei Ivanovich Vavilov/. Having looked at us once, he immediately became a high patron and an ardent enthusiast of the ONH. He mobilized his entire Optical Institute to help us. As a result, we had a department "Light and Color", which amazed not only uninitiated, but also specialists in other branches of science).
(Mishkevich (1968): ... There is a "fiery exhibit" on the table. The stream of air flowing out of the funnel, for some reason, was not able to extinguish the candle. But the funnel is removed and replaced with ... an ordinary brick. The tap is open , and a stream of air, passing through the thickness of the brick, easily blows out the candle.
At different ends of the hall /physics/ there were two huge parabolic mirrors. You will say a phrase in front of one of them in a whisper, and in the other it will sound booming and loud. Or you light a match with one - you can light a cigarette with another ...).
/ Mishkevich (1973):
Science and Life 1973, No. 7, p. 45
// Dance (White) Hall. Somewhere in 2 rooms from it was the 2nd time room of Akhmatova. Physics and lyrics//.
In this wind tunnel, which stood in the hall of physics, models of aircraft, cars, ships, wagons, bodies with different cross sections were blown through. The speed of the air flow in the working space of the pipe exceeded 30 meters per second. The experiments found out not only the presence of resistance to the movement of bodies, but also made it possible to measure its strength, showed the technical advantages of drop-like, "licked" forms /.
(Mishkevich (1986): Another machine stood nearby, which allowed to receive an ascending air stream, a vertical jet. It was the “Grokhovsky catapult”. A wooden doll with a parachute was introduced into the stream, it instantly soared to the ceiling and hung there, supported by the ascending air stream.
On the table stood a glass mortar with a well-fitting piston pestle. Water was poured into the mortar, and the guide invited: "Try to crush the water in the mortar." However, contrary to the well-known saying, no one succeeded in crushing it. The text under the stupa read: “So, you yourself had the opportunity to verify the practical incompressibility of water”).
"Technique - youth" 1941 No. 4. p. 59
(Mishkevich (1986): ... "Roaring Bear" (a teddy Bear with an iron rod inside began to "roar" as soon as it was brought to the transformer; of course, it was not the bear cub that roared, but the transformer, which demonstrated the manifestation of Foucault currents)).
(Mishkevich (1986): The exhibit presented to the House by the director of the Institute of High Frequency Currents, Professor V.P. Vologdin, made a special impression. It was called: “The Magic Frying Pan.” Repelled by a powerful electromagnet, an ordinary iron frying pan hovered in the air above the tile. with her hand, showing that it was cold, then put a piece of butter on it, broke two eggs.After a few seconds, excellent fried eggs hissed and bubbled in a frying pan heated by high-frequency currents (their generator was a stove).
(Uspensky: At one time, the greatest delight was caused by small dioramas depicting what was happening at the moment of the Leningrad noon on other meridians of the Earth. Then a secretly phosphorescent white screen captured the attention and love of the public, on which a surprised visitor could leave his shadow: he was moving away, and his profile or the outline of the hand remained... Then the fame passed to a large picture, also painted with phosphorescent paints.Depending on the ray of what color it was illuminated, two completely dissimilar images appeared on it).
The visitors were delighted with a large book of reviews about the optic nerve disc, which itself opened and closed.
(Uspensky: ... the book of reviews and suggestions itself opened with the help of photocells as soon as a person approached it).