home › Horoscopes › One of the most beautiful minerals in nature. Ural malachite: jewelry, fishing history Does malachite from the Urals have a future

One of the most beautiful minerals in nature. Ural malachite: jewelry, fishing history Does malachite from the Urals have a future

chemical formula Cu2(OH)2
Color different shades of green
Hardness 3.5 - 4
Density 3.75 - 3.95
Syngony Monoclinic
Long prismatic crystals, very rare

“Among the green gems, there is another stone that can rightfully be considered Russian, since only in our country those huge deposits have been discovered that made it famous all over the world. This is malachite, a stone of bright, juicy, cheerful and at the same time silky-delicate greenery”

A. E. Fersman

Malachite is one of the most beautiful minerals. Its color is rich in shades - the whole palette of green tones from light green with blue (turquoise) to deep dark green ("velveteen"). The mineral got its name, probably, for its green color, reminiscent of the color of mallow leaves (Greek malache - mallow), or for its low hardness (Greek malakos - soft). In medieval Europe and in Ancient Rus', the Latin molochites had a synonym - murrine. In scientific use in the 17th century. used variations of the Plinian molochites - Melochiles, Melochites, Molochites. The latter form survived until the 18th century, until it was supplanted by the modern spelling malachite, proposed by the Swedish mineralogist Vallerius. In the first third of the XIX century. in Russia it was customary to write malakhid, less often malakid.

According to its composition, malachite is an aqueous carbonic salt of copper - Cu2(OH)2. Copper oxide in malachite contains up to 72%. Its color is due to the presence of a copper ion. It crystallizes in the monoclinic syngony. Malachite crystals are extremely rare (highly valued by collectors), their cleavage is perfect according to the pinacoid. The appearance of the crystals is prismatic, acicular and fibrous; twins are noted. More often malachite occurs in the form of earthy secretions and dense sinter formations. Inside it is composed of radially diverging fibers of coarse and large, down to very small scales. The radial-radiant pattern is often combined with a concentric-banded (zonal) color. There are fine-fibered varieties, sheaf-like, concentric-layered, polycentric, as well as pseudostalactites. It is often contaminated with various impurities, which reduces its decorative qualities. And vice versa, it is rich in inclusions (dendrites of manganese minerals, grains and fibers of chrysocolla, shatukitta, azurite, elite, brochantite, black tar and copper ore deposits), which give it even more decorative effect.

Dense malachite, despite its cavernousness, is an extremely valuable ornamental stone. There are two main ornamental types of stone - radial-radiant and dense. The first one was called plush for its resemblance to the once common cotton velvet - plush. The second for the apparent uniformity and cold, slightly blue, green color - turquoise. Its more decorative variety was identified as patterned. Due to its low hardness (hardness on the Mohs scale 3-4), malachite is easily processed: it is quickly cut, well ground and polished, in the hands of a skilled craftsman it takes the highest mirror polishing. The treated surface is fragile - it gradually fades and needs to be updated. Raw malachite has a slight vitreous luster, but when freshly broken and in veins, its luster is often silky. Malachite is sensitive to heat and unstable to acids and ammonia.

Malachite is a mineral of the oxidation zone of copper sulfide and copper-iron ore deposits occurring in limestones, dolomites, etc. It is formed as a result of the interaction of copper sulfate solutions with carbonate or carbonic acid waters. Sinter forms of malachite occur in karst caves and cavities of ore-bearing limestones, where waters with copper bicarbonate are filtered. The usual companion minerals of malachite are azurite, chrysocola, tenorite, cuprite, native copper, oxides and hydroxides of Fe and Mn, secondary minerals Pb and Zn. Pseudomorphoses of malachite after azurite, chalcopyrite, cuprite, cerussite, atacamite are known.

Malachite has long attracted the attention of people. From the Neolithic up to the Iron Age, it was the stone of artisans: painters and dyers, glassblowers, painters, smelters (copper was smelted). Sometimes it was used as simple decorations and simple crafts. The earliest malachite craft is 10,500 years old! This is a modest, simple oval-shaped pendant found in one of the burials of a Neolithic burial ground in the Shanidar Valley (Northern Iraq). In those days, it was not beauty that was valued, but usefulness.

In ancient times, malachite was valued for its rarity and beauty, the uniqueness of the pattern and the originality of color. Malachite became the material of the artist, and the forms created in it became the object of desire of the nobility. The ancient Greeks decorated elegant buildings and halls with malachite. In ancient Egypt, cameos, amulets and jewelry were made from malachite mined in the Sinai Peninsula. It was even used for eyeliner (in powder form).

The Middle Ages got only the past of malachite, and European culture mastered it through book traditions, feeding on the echoes of its former splendor, legends and traditions that came down from the ancient world, and even more mixing truth with fiction, made malachite an amulet, a talisman, endowing it with a special hidden world, hidden meaning. According to a superstition common in medieval Europe, an amulet in the shape of a cross contributed to the facilitation of childbirth; the green color of the stone is a symbol of life and growth. The examples show that in the variegated and undemanding market of medieval amulets, malachite, an inexpensive stone, was quite popular. They believed that a piece of malachite, attached to a baby's cradle, drives away evil spirits, the child, overshadowed by this stone, sleeps soundly, calmly, without unpleasant dreams. In some areas of Germany, malachite shared with turquoise the reputation of a stone that protects against falls from a height (a rider from a horse, a builder from scaffolding, etc.); he seemed to have the ability to foresee trouble - on the eve of misfortune, he would break into pieces. Boethius de Boodt in his “History of Precious Stones” (1603) wrote that the image of the sun engraved on the stone gives a special power to the malachite talisman. With this sign, malachite protected from witchcraft, evil spirits and poisonous creatures. People believed that malachite could make a person invisible. A drinker from a malachite bowl turned out to be able to understand the languages of animals, etc. The practical experience of medieval miners knew malachite as a search sign of oxidized copper ores and rich accumulations of metal in cuprous sandstones.

However, this mineral gained true fame after the discovery of large deposits of malachite at the end of the 18th century. in the Urals (previously, Ural malachite was used only for copper smelting). In the 19th century at the Mednorudnyansky and Gumeshevsky mines, malachite began to be mined in large quantities (up to 80 tons annually). The 19th century was a golden age for malachite. The center of his culture moved to Russia, where he found himself with equal success in technology, in scientific knowledge, in art - from small to monumental forms. Malachite is becoming fashionable among the nobility, they started talking about it, they decorated the mineral cabinets of Russia and Europe. At the end of the XVIII century. - early 19th century many mineral cabinets had rich collections of Ural malachite: the best were the cabinet of Catherine II in the Winter Palace, the cabinets of natural scientists P.S. Pallas, I.I. Lepekhin, who visited malachite deposits in the Middle Urals; The largest collection of malachite, which left all others far behind, was owned by Count N.P. Rumyantsev (they say that during the war of 1812 Napoleon was looking for it, who dreamed of taking Rumyantsev malachite to France) ...

Malachite giants were a special attraction. Among the most notable are two monoliths of the Mining Institute Museum in St. Petersburg. One weighing 1.5 tons (96 pounds) was transferred here by Catherine II in 1789. She, in turn, presented it to the heirs of A.F. Turchaninov, the owners of the Gumeshevsky mine, as a fragment of a monolith weighing 2.7 tons (170 pounds). This "fragment" was then estimated at 100,000 rubles. Another block weighing just over 0.5 tons came here in 1829 from the owner of the Kyshtym mine in the Southern Urals, L. I. Rastorguev. In the late 20s of the XIX century, with very high prices for malachite and high consumer demand, the stone became a symbol of wealth, a sign of social distinction. He was chased by both the imperial court and the highest nobility, striving, with its inherent vanity, to look no worse than those in power. Having things made of malachite becomes a rule of good taste.

The quintessence of rivalry for the possession of the most prestigious form of malachite was the transfer of this stone from the sphere of small "applied" to the colossal things of the palace purpose and architectural and decorative decoration. The first significant phenomenon of the St. Petersburg monumental anthology of malachite was the mosaic decoration of the four-column front hall of P.N. Demidov’s house. Since 1838, the imperial house began to compete with the Demidovs in the size of malachite luxury. The Demidov Hall served as a prototype for even more luxurious decoration of the Golden Drawing Room of the Empress in the Winter Palace. Facing pilasters, columns, fireplaces with malachite gave her the name Malachite. It was created in 1838-1839 according to the project of A.P. Bryullov by malachite masters of the Peterhof Lapidary Factory and the “English Shop Nichols and Plinke”. This true gem of the Hermitage ends the thirties of the history of Russian malachite.

This period was significant in that the malachite business of Russia gained worldwide recognition in the shortest possible time. Russia has become a trendsetter in everything related to malachite. Russian masters amazed the world with the scale, perfection of their works, the depth of artistic vision and perception of malachite. The natural features of malachite - the abundance of large and small voids, caverns, foreign inclusions, porousness - forced us to abandon the usual ideas about the multi-facade beauty of the stone, which allows us to make voluminous things.

Russian craftsmen developed a special method for making products from malachite, called “Russian mosaic”, in which pieces of malachite were sawn into thin plates, and a pattern was selected from them, glued onto metal or marble. Everything that is made of malachite, from caskets to vases and columns, is carefully selected from thin small tiles. Thousands of pounds of stone passed through the hands of artisans before the scattered tiles merged into a magnificent single pattern, creating the impression of a monolithic product.

In the course of working with malachite, several technological types of mosaics were developed:
"The first is the simplest, when the field is lined with large polygonal rectangular tiles that do not fit either in pattern or color. The seams between them are frankly exposed, like a frame in a stained glass window. Such a mosaic imitates rough breccia.
"The second type of mosaic is characterized by a somewhat more subtle perception of the malachite pattern, although its difference from the first is small. All the techniques are the same here, with the only difference being that one or two sides of each tile are rounded. The rough presence of seams in combination with rounded and polygonal shapes makes a mosaic similar to more complex breccias, and sometimes even conglomerates.
The third is the most exceptional type of malachite mosaic. The edges of dense large tiles are processed on a special device, where they are given a wavy profile echoing the pattern of malachite.
"The fourth type of mosaic is based not so much on stone as on mastic. The decorated field is completely covered with it, and then small shapeless tiles with torn fragments or edges cut by nature itself are sunk into it.
The fifth one differs from the fourth one only in that small, up to 7-8 mm in diameter, round pieces of high-grade malachite are cut or embedded into the shapeless tiles embedded in the mastic and into the mastic itself, imitating “ocular” varieties of stone.

Against the background of all these mosaics, the use of malachite in small decorative inserts in Florentine mosaics and even in volumetric inlays seems to be something of little importance, of secondary importance. Meanwhile, these forms are no less interesting. The development of malachite by European mosaicists (late 18th century) began with them, and the possibilities of its expressive language were discovered in them. Modest in volume forms of malachite in Florentine mosaics, where it is scattered among agates, jaspers, cacholong, lapis lazuli, testifies to the uniqueness of this stone in the palette of masters.

Mid 19th century - the triumph of malachite and at the same time the last bright stage of its history. During this period, the malachite decorations (columns) of St. Isaac's Cathedral in St. Petersburg are being completed, work on the malachite fireplace and pilasters of the Grand Kremlin Palace in Moscow is being completed. 1851 - the triumphal parade of Russian malachite at the first World Exhibition in London.

Since the end of the 19th century, malachite has lost its former glory as a stone of those in power. In small items, it became available to the middle class, and in monumental items, it acted as an expensive, but still ornamental stone, thus malachite was deposed from the aristocratic luxury market. Since the 60s, the processing of malachite has become predominantly a matter of the Ural handicraft industry. The capital's workshops are turning to malachite less and less and, finally, completely curtail its processing. And on the waste of huge mining of the first half of the 19th century, a whole branch of Russian technological malachite began to develop - the production of malachite paint. A.E. Fersman writes that "... before the revolution in Yekaterinburg and Nizhny Tagil one could see the roofs of many mansions, painted with malachite in a beautiful bluish-green color."

In the 20th century, interest in malachite moved into the realm of scientific research. With its study, knowledge of the processes of occurrence of copper and iron-copper deposits of various types is improved, a number of laws of mineral ontogeny are formulated, and the foundations of malachite synthesis technology are laid. Malachite, as before, is loved by collectors. As an ornamental stone, it is rare and is mastered only in small forms by jewelers.

Today, malachite is one of the most popular jewelry and decorative stones. Small office decorations, caskets or stands for candlesticks, clocks, ashtrays and small figurines are made from it. And beads, brooches, rings, pendants made of malachite are valued on a par with semi-precious stones and are in great demand. On the world market, for malachite in raw materials in pieces weighing 600-800 g, they pay up to 20 dollars / kg.

Unfortunately, after many years of continuous mining of malachite, the well-known deposits of the Urals - Mednorudyanskoye and Gumeshevskoye - are almost completely depleted. Large deposits of malachite have been discovered in Zaire (Kolwezi), in southern Australia, Chile, Zimbabwe, Namibia, the USA (Arizona), however, in terms of color and beauty of patterns, malachite from foreign deposits cannot be compared with the Ural one. In this regard, malachite from the Urals is considered the most valuable in the world market.

Researcher Ivashkova Yu. A.

> D-579 Show/Hide Text

D-579 (-). 1. The main idea of the text is that nothing in nature can compare with malachite.
It has long been customary to look for analogies to the color of the Ural malachite in wildlife. But we still have to admit that the colors of malachite do not fully correspond in nature.
[=] what (=).
The greenery of trees and flowers is born from the warmth of the sun. When we peer into the leaf of a plant, we admire the harmony created by nature itself.
[-=]. then (=).
The veins in the strength of the green leaf are always softer than the color of the leaf itself. "These veins, penetrated by sunlight, seem light and openwork, like a cobweb.
The greenery of malachite is heavy and cold, just as the stone itself is heavy and cold by nature.
[-SC^u C B]. like (С_С_
Green color in nature calms the eye, but in malachite it is restless, dynamic. Coloring is distributed unevenly, in pulses. Often around bright shades of green circle, flashing and fading, ice-green and bluish-green blotches.
2. Openwork - through, fine mesh. Analogy is a form of inference when, based on the similarity of two objects, a conclusion is drawn about their similarity in other respects.
Dynamic - in motion.
An impulse is a stimulus, a push that causes some kind of action.
4. [But we still have to admit] (that the colors of malachite do not fully correspond in nature).
(what).
What is the union Simple
submissive
(When we peer at the leaf of a plant), [we admire
incl. about.
harmony, "created by nature itself"].
(When), [then, ImacLi^l].
Once ... then - union
Composite
submissive
[The green of malachite is heavy and cold], (how heavy and cold the stone itself is by its nature).
(How).
How - Union Simple
submissive
5. Long since - adverb. The adverb of time. Immutable
It is customary to search (when?) for a long time.
Born - communion. N.f. - born. From the verb to give birth.
Fasting, signs: passive, reflexive, owls. view, past time.
Non-post, signs: short, unit. h., female genus. Greenery (what?) is born.
Created - communion. N.f. - created. From the verb create.
Fasting, signs: passive, non-exalted .. owls. view. past time.
Non-post, signs: complete, units. number, female genus. tv. pad.
Harmony (what?) Created.
Always - adverb
adverb of time
Immutable
Softer (when?) always.
Permeated - communion. N.f. - penetrated. From the verb to penetrate
Fasting, signs: passive, non-exalted .. ness. view. past time.
Nonfasting, signs: complete, pl. number, im. pad. Veins (what?) Permeated.
Uneven - adverb. Adverb of action. Immutable
It is distributed (how?) Unevenly.
Often - adverb. The adverb of time. Unchangeable Circle (when?) often.
Flashing - gerund. From the verb to flare. Imperfect species. Unchangeable Circle (how?) flashing.
Fading away - adverb. From the verb to fade away.
G
Immutable Imperfect view. They circle (to and to?) fading away.

A. E. Fersman

Malachite is one of the most beautiful minerals. Its color is rich in shades - the whole palette of green tones from light green with blue (turquoise) to deep dark green ("velvety"). The mineral got its name, probably, for its green color, reminiscent of the color of mallow leaves (Greek malache - mallow), or for its low hardness (Greek malakos - soft). In medieval Europe and in Ancient Rus', the Latin molochites had a synonym - murrine.
In scientific use in the 17th century. used variations of the Plinian molochites - Melochiles, Melochites, Molochites. The latter form survived until the 18th century, until it was supplanted by the modern spelling malachite, proposed by the Swedish mineralogist Vallerius.
In the first third of the XIX century. in Russia it was customary to write malakhid, less often malakid.

Dense malachite, despite its cavernousness, is an extremely valuable ornamental stone. There are two main ornamental types of stone - radial-radiant and dense. The first one, for its resemblance to the once common cotton velvet - plush - was called plush. The second for the apparent uniformity and cold, slightly blue, green color - turquoise. Its more decorative variety was identified as patterned. Due to its low hardness (hardness on the Mohs scale 3-4), malachite is easily processed: it is quickly cut, well ground and polished, in the hands of a skilled craftsman it takes the highest mirror polishing. The treated surface is fragile - it gradually fades and needs to be updated. Raw malachite has a slight vitreous luster, but when freshly broken and in veins, its luster is often silky. Malachite is sensitive to heat and unstable to acids and ammonia.

The reaction scheme for the formation of malachite can be represented as follows:
2CuSo4 + CaCo3 + hH2O and CuCo4 * Cu(OH)2 + 2CaSo4 * 2H2O + CO2.

Types of halls of the Winter Palace. Malachite Hall. The Hermitage in watercolors by Konstantin Andreevich Ukhtomsky

Boethius de Boodt in his "History of Precious Stones" (1603) wrote that the image of the sun engraved on the stone gives a special power to the malachite talisman. With this sign, malachite protected from witchcraft, evil spirits and poisonous creatures. People believed that malachite could make a person invisible. A drinker from a malachite cup turned out to be able to understand the languages of animals, etc. The practical experience of medieval miners knew malachite as a search sign of oxidized copper ores and rich accumulations of metal in cuprous sandstones.

However, this mineral gained true fame after the discovery of large deposits of malachite at the end of the 18th century. in the Urals (previously, Ural malachite was used only for copper smelting). In the 19th century at the Mednorudnyansky and Gumishevsky mines, malachite began to be mined in large quantities (up to 80 tons annually). The 19th century was a golden age for malachite. The center of his culture moved to Russia, where he found himself with equal success in technology, in scientific knowledge, in art - from small to monumental forms. Malachite is becoming fashionable among the nobility, they started talking about it, they decorated the mineral cabinets of Russia and Europe. At the end of the XVIII century. - early 19th century many mineral cabinets had rich collections of Ural malachite: the best ones were the cabinet of Catherine II in the Winter Palace, the cabinets of natural scientists P.S. Pallas, I.I. Lepekhin, who visited malachite deposits in the Middle Urals; The largest collection of malachite, which left all others far behind, was owned by Count N.P. Rumyantsev (they say that during the war of 1812 Napoleon was looking for it, who dreamed of taking Rumyantsev malachite to France) ...

The quintessence of rivalry for the possession of the most prestigious form of malachite was the transfer of this stone from the sphere of small "applied" to the colossal things of the palace purpose and architectural and decorative decoration. The first significant phenomenon of the St. Petersburg monumental anthology of malachite was the mosaic decoration of the four-column front hall of P.N. Demidov’s house. Since 1838, the imperial house began to compete with the Demidovs in the size of malachite luxury. The Demidov Hall served as a prototype for even more luxurious decoration of the Golden Drawing Room of the Empress in the Winter Palace. Facing pilasters, columns, fireplaces with malachite gave her the name Malachite. It was created in 1838-1839 according to the project of A.P. Bryullov by malachite masters of the Peterhof Lapidary Factory and the "English Shop Nichols and Plinke". This true gem of the Hermitage ends the thirties of the history of Russian malachite.

This period was significant in that the malachite business of Russia gained worldwide recognition in the shortest possible time. Russia has become a trendsetter in everything related to malachite. Russian masters amazed the world with the scale, perfection of their works, the depth of artistic vision and perception of malachite. The natural features of malachite - the abundance of large and small voids, caverns, foreign inclusions, nostrility - forced us to abandon the usual ideas about the multi-facade beauty of the stone, which makes it possible to make voluminous things.

Russian craftsmen developed a special method for making products from malachite, called “Russian mosaic”, in which pieces of malachite were sawn into thin plates, and a pattern was selected from them, glued onto metal or marble. Everything that is made of malachite - from caskets to vases and columns, is carefully selected from thin small tiles. Thousands of pounds of stone passed through the hands of artisans before the scattered tiles merged into a magnificent single pattern, creating the impression of a monolithic product.

In the course of working with malachite, several technological types of mosaics were developed:
» The first one is the simplest, when the field is lined with large polygonal rectangular tiles that do not match either pattern or color. The seams between them are frankly exposed, like a frame in a stained-glass window. Such a mosaic mimics a rough breccia.
» The second type of mosaic characterizes a somewhat more subtle perception of the pattern of malachite, although its difference from the first is small. All the tricks here are the same, with the only difference being that one or two sides of each tile are rounded. The rough presence of seams, combined with rounded and polygonal shapes, makes the mosaic look like more complex breccias, and sometimes even conglomerates.
» The third is the most exceptional type of malachite mosaic. The edges of dense large tiles here are processed on a special device, where they are given a wavy profile echoing the pattern of malachite.
» The fourth type of mosaic is based not so much on stone as on mastic. The decorated field is completely covered with it, and then small shapeless tiles with torn fragments or edges cut by nature itself are sunk into it.
» The fifth one differs from the fourth one only in that small, up to 7-8 mm in diameter, round pieces of high-grade malachite are cut or embedded into the shapeless tiles embedded in the mastic and into the mastic itself, imitating “ocular” varieties of stone.

Mid 19th century - the triumph of malachite and at the same time the last bright stage of its history. During this period, the malachite decorations (columns) of St. Isaac's Cathedral in St. Petersburg are being completed, work on the malachite fireplace and pilasters of the Grand Kremlin Palace in Moscow is being completed. 1851 - triumphal parade of Russian malachite at the first World Exhibition in London.

Since the end of the 19th century, malachite has lost its former glory as a stone of those in power. In small items, it became available to the middle class, and in monumental items, it acted as an expensive, but still ornamental stone, thus malachite was deposed from the aristocratic luxury market. Since the 60s, the processing of malachite has become predominantly a matter of the Ural handicraft industry. The capital's workshops are turning to malachite less and less and, finally, completely curtail its processing. And on the waste of huge mining of the first half of the 19th century, a whole branch of Russian technological malachite began to develop - the production of malachite paint. A. E. Fersman writes that "... before the revolution in Yekaterinburg and Nizhny Tagil one could see the roofs of many mansions, painted with malachite in a beautiful bluish-green color."

Manifestations of malachite are known in Kazakhstan.
Perhaps the "golden age" of malachite is over, it will no longer be used in such quantities as in the 19th and 20th centuries. Now it is more often used in the form of inserts in small jewelry.

Malachite looks especially good in a frame made of white metal, for example, in silver. As a jewelry stone, it is good, but only with low hardness it is easily scratched and relatively quickly loses its polish.

Other names: satin malachite, turquoise malachite, plush malachite, peacock stone, satin ore. Chrysocolla, already mentioned above, was previously called malachite flint, but star-shaped malachite is chalcedony with rare large inclusions of malachite. Sometimes there is such a name azur-malachite - this is an ornamental stone, consisting of alternating layers of azurite and malachite.

We also need to mention pseudomalachite. It is a mineral, hydrous copper phosphate. The color is emerald green to bluish green. Hardness 4.5–5.5. Dense varieties can be used as an ornamental stone - a substitute for malachite.

Academician Fersman begins his description of malachite in the book Precious and Colored Stones of Russia with this phrase.

A deep connoisseur of stone, Alexander Evgenievich Fersman, was an enthusiastic expansive person. Isn't it too enthusiastic and tendentious?

Not too much.

Here is evidence of an "outside" authority for Russia.

The famous naturalist Alexander von Humboldt visited the Urals in 1829. His companion, who kept records - travel diaries, Gustav Rose noted after inspecting the Gumeshevsky mine: “... Malachite in the Gumeshevsky mine is in the largest amount among other ores. It happens either in the form of balls and balls, or in solid masses, or in the form of kidney-shaped, dripping and tubular masses. Reniform and drip varieties surpass in beauty malachite from all other known deposits on the globe ... "

You can immediately notice, isn't it, among the dry academic description of the deposit the same enthusiastic tone as that of Fersman: "... surpasses in beauty ..."

However, nothing else could be expected from true connoisseurs.

After all, he is truly beautiful, this stone. Even if it’s not just a green tuberculous mass that is not “opened”, it attracts, bewitches. And if you cut, but polish, and straighten.

It is now generally accepted that malachite can rightfully be considered a "Russian" stone. It would not be a big exaggeration to call malachite a "truly" Ural stone. It has long been customary that in order to study malachite, scientists from all over the world came to its famous Ural deposits. From here, from the Urals, the modern technique of processing malachite, recognized throughout the world as the technique of "Russian Mosaic", went.

But more on that later.

Now let's take a closer look at what kind of natural phenomenon it is - the green stone malachite.

Gustav Rose, cited above, exhaustively described the forms of malachite in nature as sinter formations in karst cavities. Academician Pallas had visited the Urals almost half a century earlier. The malachites he saw he divided not only in appearance. According to Pallas, malachite, as an ornamental stone, can be of two kinds: “... the first kind is shellish ... it is very capable of polishing ... the most beautiful colored dark green stripes in faceted pieces ...” The academician describes the second kind of malachite even more colorfully: “... parting from the inside to the outside, dark in color, heavy, richer than the first, on the surface, like velvet, but in a break, like satin ... "

It is interesting to see how the classification of the academician correlates with the division of the same stones by the artisans of the Urals. Among the Ural miners, Pallas's "malachite of the first kind" is known under the name "turquoise", sometimes - "case, ribbon". According to the drawing, these are the most diverse shades and combinations of green ribbons laid in parallel wavy jets or folded into concentric zonal rings. Turquoise is considered the highest grade of malachite among the masters. It is harder and therefore better "takes" polishing.

The malachites of the second kind were nicknamed by the miners as "plywood" or "velvet". In fact, if you look closely, you can clearly feel the fine grain of velvet in the structure of the stone. These malachites are more difficult to polish and are less valued by cutters.

A decade earlier than Pallas, academician Ivan Ivanovich Lepekhin, who studied the Gumeshevskoye deposit, described another - the third, but perhaps the most striking variety of malachite, which he called "finely patterned": "...Here you could see different pits in which nature played with various images: outlined geometric bodies; others represented the appearance of plants, others of various natural things showed the outlines ... ”In the people, this type of malachite was called“ curly ”or“ like a Karelian birch ”. It really resembles in some samples the dense crown of a birch against the background of a hot midday July sky, when a gentle breeze slightly sways it and it creates the most bizarre drawings with the swaying of branches and foliage.

One such “rare pattern” is described in the tale of Pavel Petrovich Bazhov: “... as if a tree protrudes from the middle, and a bird sits on a branch and a bird is also below. You can clearly see…”

Malachite, the largest and unsurpassed in terms of quality and reserves of ores, the deposits of which were discovered at the beginning of the 18th century in the Urals, in general, has been known to people for a long time. This is explained quite simply. Historians have reliably established that, after the Stone Age of civilization, humanity immediately entered the Copper Age. Copper was the first metal whose name marked an entire era in the development of mankind. Apparently, copper was then used quite widely, since it deserved such a right. And this right is confirmed by numerous finds in many places of the globe. Obviously, quite a lot of large copper deposits were involved in economic use. Apparently, the first miners learned how to find and extract copper ores. And malachite, for all its unusualness, is an ordinary copper mineral, and is known no less widely under its other name - “copper green”. Chemically, copper greens are 57.4% pure cuprum. This mineral is typical for the oxidation zones of copper ores and is found in almost all of their deposits.

In most cases, copper greens are of no interest as an ornamental stone. More often it is a thin, sometimes fine-grained, uniform green crust. It was as if a negligent painter had smeared it with poorly wiped and, moreover, half-cured green paint. So she dried up, on what she got, in untidy green patches. The patterned version of copper greenery is created by nature only if the copper ore deposit is deposited on marbles or limestones. Due to some geological reasons, over the years this deposit has been brought to the level of depths, where groundwater is actively mobile. In the situation that is now being considered, nature assigns the role of that good fairy who creates princesses from Cinderellas to groundwater. Only the methods of this fairy are very earthly.

First, groundwater dissolves ribbed, bright yellow pyrite cubes. It is usually abundant in primary copper ores. This action enriches the ground water with sulfuric acid. Such water acquires the ability to transfer copper compounds into solution, making them sulfates, and infiltrating, takes them down with it into the marble bed of mineralization, where it has already eaten through a fair number of voids - karsts. Gnawing karst, water in a carbonate environment becomes alkaline. Under alkaline conditions, copper sulfates seeping into marble cellars precipitate. This process is slow. So they say - they precipitate. In fact, there is a slow rhythmic layering of microscopic secretions of copper greenery, sometimes in the form of slowly growing tubes of stalactites, more often in the form of tuberculate growths on the lids and walls of the cellar, often in the form of radially radiant nodules - concretions around any centers of crystallization. Sometimes the water flow intensifies and droplet streams break off, scatter along the bottom of the void, break up, but unite with new influxes, and this process, repeated over and over again in all forms, creates from precipitation of aqueous copper bicarbonate that varies in concentration, intensity, chemistry, changing in color, thickness and to the drawing of puffs, aggregates of a green mineral amazing in color and originality of the pattern - fabulously beautiful malachite.

The fairy has finished her work - the princess is in front of you ...

Then nature had two ways.

Either she decided not to intervene any more - and the process of continuous transformation of the substance she set continued further, and at its new stage the patterned copper greenery was destroyed, being replaced by silicates or copper phosphates, as well as limonite, manganese compounds, and God was everything else, or nature found the verse of the master prudence, and she decided to save some of her handicrafts: she “preserved” malachite, wrapping its formations in a karst cavity with a dense package of clay particles, thus saving it from decomposition by aggressive waters.

There is no doubt that the first copper miners got to the bottom of these cellars. And an extraordinary green stone with mermaid eyes was revealed to the world.

The knowledge of malachite has passed all the usual stages of human knowledge of nature. The conspicuous unusualness of his drawings, first of all, led people to the idea that it could not have done without the intervention of higher powers.

The stone becomes a fetish.

The oldest known developments of malachite deposits are located on the Sinai Peninsula. They are at least six thousand years old. The ancient Egyptians, apparently, were the first to determine that “mafek” (that is the name they defined malachite, George Kunz translates this word as “the best of green stones”) is the most reliable protector of the wearer from poisonous reptiles, from the evil eye, and in general from witchcraft. The mafek became a particularly powerful talisman if the sun was engraved on its surface. After all, it is well known that the sun, as the source of all light, is a natural mortal enemy of the forces of the dark kingdom, all sorcerers, sorcerers, demons, witches. After all, they are not so afraid of anything as bright sunlight. It is clear that the combination of two such powerful forces made the talisman wearing malachite with the sun practically invulnerable.

With the light hand of the Egyptians, the whole ancient world believed in it.

And now the first Jewish clergymen, as suggested by the researcher of that period Mayer, hung breast amulets from this stone (sacred), and engraved the name "Ham" on it. For fidelity, so that the Jewish amulet is not confused with the talisman of the Gentile Egyptians, the stone from which it was made was called "shochem".

This stone was considered worthy of the gods by the ancient Greeks. They lined the columns of the temple of Aphrodite in Ephesus with this stone. Apparently, this is one of the most ancient facts of the use of malachite as an ornamental stone that has come down to us. Malachite owes its present name to the ancient Greeks - malakhe, in translation - "mallow".

The "wonderful" properties of malachite were not forgotten in the Middle Ages either.

In Italy, he was honored for his ability, unsurpassed by other objects, to protect the owner from the influence of the evil eye. Apparently, the Italians came to this idea from the similarity of the concentric-zonal pattern of malachites in some of his samples with the shape of the pupil of the eye. And the Italians also called malachite "peacock stone", because both in shape and in color its pattern resembles the color of a peacock's tail. In Italy, amulets made of malachite were given a triangular shape (as was customary from the Etruscans) and the stone was set in silver.

In Germany, malachite was revered as a stone that protects against falls and generally warns its owner about the approach of misfortune. In the latter case, he gave him a sign, torn to pieces.

But malachite has earned special recognition in the field of protecting infancy. He is a recognized protector of children. The whole Ancient World knew that if a piece of malachite was tied to the cradle of a child, then all evil spirits would stay away from her and he would sleep peacefully and soundly.

This property of malachite was also revered in the Urals.

Until the beginning of the 18th century, malachite was mainly known for that. An exotic gem, nothing more. In order for malachite to become popular there as an ornamental stone, very little was needed. It was necessary to find it enough.

This is exactly what happened at that time in the Urals.

The Gumeshevskoye field was the first to be discovered, located on the present northwestern outskirts of the city of Polevskoy, Sverdlovsk Region. It was found in 1702 by residents of the Aramil settlement Sergey Babin and Kozma Suleya. Found in the footsteps of ancient developments and no less ancient remnants of smelting ores - "izgarin". And later, during the exploration and development of the deposit, numerous traces of the activities of miners and metallurgists of bygone generations were found: copper scraps, leather rawhide bags, scraps of clothing, “drags”, and once their remains were discovered. Historians date the time of these ancient developments to the middle - the end of the first millennium BC. e.

In 1735, by order of V.N. Tatishchev, the treasury began to develop the Gumeshevsky deposit. But, apparently, the then tsar's metallurgists did not know enough about the technology of processing and smelting such ores. The plant operated at a loss. This continued until 1759, when the titular adviser, the merchant Alexei Turchaninov, "left" a loss-making mine in the capital together with the Sysert, Polevsk and Seversk plants. Turchaninov by this time had gone bankrupt in the salt industry and was heavily indebted. Goomies were his last bet; in order to get them, he, by his own admission later, wore out more than one shoe and trampled more than one square in the capital, and this added debts, he probably had a lot.

Turchaninov did not act blindly. Previously, he showed the Gumeshevsk ores to his Perm masters and they considered a new technology for smelting copper. He also knew Turchaninov about the frequent finds of malachite in Gumyoshki. The new owner, apparently, was prudent and knew how to extract profit. He immediately realized that it was necessary to develop the deposit in a comprehensive manner, that not only copper, but also a patterned green stone could bring him a solid jackpot. First I found the masters. Then he organized a skillful advertisement. To promote the stone, he generously and widely donated it to museums. He invited scientists and collectors to Gumyoshki. And in every way he encouraged the field craftsmen to create various crafts from it. And he did. And sensible advertising worked, and the beauty of the stone was shown to the fullest by the masters - from the 60s of the XVIII century and forever the Ural malachites gained world fame. Turchaninov did not remain for nothing either. He left two million rubles to his heirs.

The successors of his business understood well the role of malachite in the profits of the economy. Not without intent, in 1789, Turchaninov Jr. bowed to Catherine II with a one and a half ton blue beauty stone - and he pleased the empress and raised the prestige of the stone. And now the kings are already using it for friendly offerings. The most valuable gift of Alexander I to Napoleon was considered to be a table, a vase and a candelabra made of malachite. This stone has become somewhat highly valued, emphasizes the fact that a visit to the malachite mine was included in the program of the trip of Emperor Alexander I to the Urals in 1824, along with a visit to the Miass gold placers that thundered all over the world at that time. There is even a picture - a sovereign miner admires a block of this stone that he has mined with his own hands. Apparently, the extraction of that block was skillfully organized for him, by analogy with the extraction of a pair of gold nuggets, which the emperor also personally washed from two or three wheelbarrows of sand on the Tashkutarganka River.

Soon the Gumeshevskoye deposit could no longer satisfy the ever-increasing and skillfully heated demand.

And then came the discovery of fabulously rich malachite deposits at the Mednorudyansky mine near the city of Nizhny Tagil. The owners of this mine, the Demidovs, did not lose their heads. They were well aware of the path, reliable and shortest to profits. From the very first large finds, Anatoly Demidov orders to cut down a malachite temple - an eight-column rotunda, exquisitely austere and elegant, and brings it to Nicholas I for installation in St. Isaac's Cathedral.

But the red day in the biography of the Mednorudyanskoye deposit took place in 1836, when a malachite monolith of unique size was mined a little north of the Avrorinskaya mine. A special article to this find - "A colossal block of malachite from the Tagil copper mine" - was dedicated to the St. Petersburg "Mining Journal". The article noted: “Tagil malachite, bare from rocks, containing a weight of up to 3000 pounds, having a dense build and a delicate turquoise color, is a work that has not yet been found in the crust of the globe ... Malachite has a small and large bud appearance and crowned, dark green to high turquoise, coming out with excellent polished figures. If you use this malachite for jewelry, then they can lay out a surface of 13,440 square inches ... "

According to the available materials, this discovery has not been surpassed anywhere in the world to this day.

Now there is enough malachite in Russia. On another occasion, the discovery took place on time. In 1837 there was a fire in the Winter Palace. It was necessary to restore the royal residence. And, prepared by the offering of Demidov, Nicholas I accepts the proposal of the architect A.P. Bryullov to restore the burned-out jasper hall of the architect Montferrand with the replacement of jasper columns with malachite in the lining of the columns.

Fifty thousand rubles cost the treasury the manufacture of malachite plates for finishing columns and other details of this hall from copper ore malachite at the Yekaterinburg and Peterhof cutting factories. This malachite was enough for a huge vase sent as a gift by Nicholas I to Friedrich Wilhelm III in Berlin, where it is still kept in the Berlin Museum. There was enough for a lot of vases, countertops, and all sorts of other handicrafts that are now stored in the Hermitage and other famous museums in the world, causing enthusiastic amazement and worship of both art historians and stone connoisseurs.

Art critic A. N. Voronikhina: “In the stone-cutting art of that period, tabletops made of various colored stones, distinguished by their beauty and brightness, occupied a significant place. But such a wealth of combinations of colors, shades and patterns, as can be observed in malachite, is not found in any stone. The tabletops of the early nineteenth century are rich and picturesque. The color and shades of the stone sound in them in full force ... "

Academician A.E. Fersman: “You need to visit the halls of the Hermitage, take a look at its vases and bowls, you need to learn to appreciate this flashy artsy stone in the malachite hall of the Winter Palace, you need to look at these achievements of Russian technology and art in order to say what can be made from Russian stone…”

The maximum production of malachite occurred in the years when talented architects Montferrand, Bryullov, Galberg, Stackenschneider worked in Russia. Malachite went well with the elegant splendor of the Baroque and the exquisite ornateness of the Rococo - the then dominant styles of architecture and art. And talented craftsmen widely used this stone for architectural decoration and for products of applied art. Halberg and Stackenschneider vases, Montferrand countertops, Bryullov's malachite columns, made by artisans from Yekaterinburg and Peterhof, are today the national pride of Russia.

And malachite in the old days was used to make a very durable green paint. Our contemporary is horrified: roofs were painted with malachite. Indeed, looking at the continuous green countless roofs of the old Polevsky, one can be horrified: how many malachite caskets and Hermitage vases are smeared here! But don't fret too much. To prepare the paint, our ancestors used not ornamental malachite, but crumbs from malachite crafts, or even a waste stone.

Over the years, the reserves of malachite in the Urals decreased and by the beginning of the 20th century they were practically depleted. Even small finds of malachite began to be strictly taken into account. The administration of the Mednorudyansky mine took emergency measures in the early 1900s to prevent the theft of malachite. The entire territory of the mine was surrounded by a high fence. Entry and exit became possible for everyone only through the checkpoint, where passers-by were subjected to inspection and search. Ores, which could contain malachite, were fed into a special room, where the clay rock was thoroughly washed, and the found pieces of dense malachite were rubbed and sent to the rejection room.

With a decrease in malachite reserves, the flow of products from the malachite industry also sharply decreased.

This position has been preserved to this day. In any today's Ural jewelry or souvenir shop, there is a lot of exotic charoite and Siberian jade, too, there are products made from jasper, agate, rhodonite, the serpentine is used, and there is practically no malachite, unless they bring African.

Apparently, the situation can change dramatically only with the discovery of new malachite deposits in the Urals. Is it possible? What do the experts say?

A prominent mineral scientist, Doctor of Geological and Mineralogical Sciences, Professor of the Sverdlovsk Mining Institute G. N. Vertushkov believes that:

“...To fully revive the malachite industry in the Urals, it is necessary to find new contact-metasomatic copper deposits such as Mednorudyansk or Gumyoshik, in the weathering crust of which there will be oxidized copper ores and ornamental malachite. The output of malachite from the amount of copper in the weathering crust is about 1%, therefore, in a new deposit ... there should be copper reserves of the order of fifty - one hundred thousand tons. In this case, the stone processing industry will be provided with malachite reserves of five hundred to a thousand tons.

In general, this is a medium-sized copper deposit, three to five times smaller than Mednorudyansky. But he has yet to be found. And I remember A.E. Fersman used to say that ore can only be found where it is.

Professor Vertushkov believes that such ore still exists in the Urals. In general, in his opinion, “... the search for contact-metasomatic copper deposits in the Urals is one of the most important tasks not only to provide the stone-working industry with malachite, but also to provide the copper industry of the Urals with an ore base ...” After all, “in the past two centuries, most of the copper was obtained from that type of deposits; it suffices to indicate such deposits as the Turin mines, where copper ores have been mined for more than two centuries. The search for this type of deposits over the past 70–50 years has been stopped.”

Indeed, the efforts of modern Ural geologists are mainly aimed at finding copper ores of the pyrite type (like the South Urals, for example) or copper porphyry. G. N. Vertushkov believes that the “forgotten” type of deposits in the Urals can be identified, and a huge area of tens of thousands of square kilometers is promising for its search, which, in his opinion, even one generation of geologists is not able to search. Therefore, searches should now be concentrated on the most promising areas, and Vertushkov indicates them. These are swampy areas in the Neivo-Rudyanka - Kirovgrad region and further north to Byngov, the Levikha region - Chernoistochinsk and many other places in the Urals.

Maybe he's right.

Perhaps, in the near future, “large Ural malachite” will again leave the mines, reviving its former glory.

And what could be.

But this joyful hope has another side.

If malachite goes, who will process it? Who will take on the heavy burden of the bearer of the traditions of the unsurpassed Ural stone cutters?

The old masters are gone. Oberyukhtin also recently died. Craftsman, what to look for. No wonder he was invited to restore the malachite hall of the Hermitage. He died and took with him the secret of the back of the night mastic - the holy of holies of malachites. Malachite is a fragile stone, often porous, with shells. For the integrity of the picture, these pores and shells are sealed with mastic, which includes wax, rosin, crushed malachite, and something else. So, for almost all the masters, the patches quickly faded against the main background, and Oberyukhta's patches stand for years and years, and are indistinguishable.

Oberyukhtin lived his last years almost in silence. He quietly fiddled with piecework in his nook at the Uralsky Samotsvet factory and only occasionally muttered quietly: “Do they work with stone? what it is, what kind of formation ... Think about how to show it to people. No, he grabs, but immediately - shir-shir with a saw. I chopped up the norm - and I'm satisfied. One word - rezun ... "

And only to a few people close in spirit did he say: “After all, what is most important in our business? And it is important that you do not give the drawing to the stone, but you take the drawing out of the stone. Each one has its own face from the stone. You provide it. Look at the stone first. Stone - he loves to blaspheme. Seems like you got it all and saw it. Grab a hammer. An still wait. You can always screw up. The young hand and eye are fast and inaccurate. I almost missed it - all the beauty went into the wallpaper. And then you won't turn around. Slowly look around one more time, but remember. Stone - he also feels a serious approach. And then it will certainly prove itself.”

And having dispersed, he showed the understanding students how to type a patterned craft from malachite:

The simplest set is tape. Drank from the corpus stone of the planks and fold so that the tape curls. This is a simple set. And then there is also a set of "crumpled velvet". It suits for him... The master opened a drawer and took out a small tile of mirror-polished finely patterned malachite, - ... a stone of a "curly" variety. You cut it neatly - and adjust it. Beauty, who understands. I repaired one such vase in the Hermitage...

The master fell silent. Either he remembered, or he rested like an old man ... He was not rushed. And after a while he continues:

It will be more difficult to set the eyes. To do this, you will cut smooth planks from turquoise kidneys and make them with understanding. Here, a good estimate is already needed in order to weave all the planks into a pattern, and not just put them all on one board. As you get the hang of it, grab a set on two sides. It's like holding a pattern up to a mirror and putting them together. The work loves this invention. Often they do this - they cut the pattern in half and fold it back. And who with fiction, he will pick up a butterfly, or even someone prettier. Sometimes it will take years before you find a drawing and pick up a stone.

And again the master fell silent. Look around the students, after a pause: not tired? Not tired, attention in the eyes. Then it will continue:

And more povykrutasistey - a set on four sides. Here you will sort out a lot of stone until you collect the necessary planks. Smart pattern. How do you do something. I divided the circle into four, and fold it into quarters, so that it was similar in all. Big job. But the beauty is great ... And it is better to collect on an iron sheet, in extreme cases on a tree. Glue everything, then seal the seams and dimples. If "soft velvet" worked, you can put seams with crushed stone there. Stuffed malachite finely, and with mastic and laid. In others, dial the seams better to make straight lines - it’s more convenient to fold the craft in this way. And if the pattern on the stone does not allow cutting it directly, al and such a craft, lead a curved seam. Work, of course, more, but the case is better. Just fit it tight. Yes, put the mastic on a hot stone - so it will go better in all pores ...

The old master sowed skill in good soil. Glorious are his disciples. Among them - Bakulin Vladimir Yakovlevich - the chief artist of the Ural Gems factory, a member of the Union of Artists of the USSR ...

And now he's dead...

Good stone-cutters were trained at the time by the Yekaterinburg School of Industrial Art. No wonder the famous master Faberge took his graduates without tests.

In Soviet times, the well-known school No. 42 in the city of Sverdlovsk, which began its work on September 1, 1945, became the successor to the traditions of the art and industrial school. The great pride of the school is its museum. All exhibits here are made by his students. And well done. Here is the World Cup - a participant in an exhibition in London in 1962.

The jasper box was exhibited in Brussels in 1958.

Of course, there is also a “malachite box” here. She was represented in 1964 at the Exhibition of Achievements of the National Economy, in Moscow. In general, the school has its own permanent exhibition at this exhibition. In 1984, his exposition was awarded a diploma of the 1st degree.

So, skill is alive? ..

But the public caretaker of the museum, master stone cutter Anatoly Alexandrovich Kuznetsov, an elegant intellectual with a wide flat hand of a craftsman, is gloomy.

Of course, - he says, - and now there are smart guys. Here in my group in 1985 Volodya Eliseev, Pyzhyanov, and someone else graduated - they already see the stone, they understand it. Why, it’s good to teach them, but it’s necessary to teach them. Where to study? Previously, we had sixteen stone-cutting workers, but now there are only three. On the other hand, take What to teach? There is no textbook. And so from hand to hand only skill also you transfer. And further. You should learn from the great masters. Where are they, masters? For the whole of Sverdlovsk, only three members of the Union of Artists remained - stone cutters on hard stone. This is in the stone-cutting capital of Russia!

Gloomy and concentrated master. He says, and his hands are busy. Carefully, even gently, they swaddle childish works from the museum into paper: the master is preparing to go to a distant school, to a career guidance lesson ...

Kononenko Alexey Anatolievich

Malachite This mineral is well known as a gemstone. Emerald and dark green malachite got its name because it is similar in color to the leaves of mallow (Greek "malache"). The best samples of malachite have a silky-delicate green color and are unusually beautiful.

D-568 (P-352). Significant parts of speech are:
object (noun: dog, wave, house);
a sign (property, quality) of an object (adjective: red, bad, respectable);
the number of items or the serial number of the item (numeral: one, fifth, sixty);
action or state (verb: to be, to go, to shout);
sign of action or other sign (adverb: wide open, down, right);
the pronoun indicates an object or its property (I, that, nothing).
D-569 (P-353). 1) Third (num.), triple (adj.), thrice^adverb), triplet (n.), three (n.), triple (v.), tripartite (adj.), triplets (n. .), tripling (adj.), triplets (n.), triple (adj.)
2) "Run (verb)," runaway (adj.), "running (adj.), running in (adj.), fugitive (n.), runner (n.), run (n.), re -running (adv.), skater (n.), running (adj.), running (adv.), running up (adj.) 196
3) Whitening (adj.), white-sided (adj.), whitens (vb.), whiteness (n.), bleach (v.), whitewash (n.), squirrel (n.), white (n.), whitish (adj.), whitened (deep.), snow-white (adj.), white (adv.), bleached (adj.), bleach (n.), whiten (v.).
P-354.
Small business is better than idleness.
An early bird clears its nose, and a late one pierces its eyes.
The root of the doctrine is bitter, but its fruit is sweet.
Make new friends, but don't lose old ones.
Without tasting (what?) Bitter, you will not know (what?) Sweet either.
D-570 (P-355).
noun incl. noun
Spring in a green grove Ch. noun noun dep.
Waiting for the dawn, zatay breath, nar. ch. noun noun
Sensitively listens to the rustle of trees, bunks. ch. adj. noun
Vigilantly looks into the dark fields.
noun nar. ch.
The trees made a mournful noise,
ch. noun
When the cold came.
noun ch. nar.
Only the spruce was silent indifferently
ch. nar.
And green, as always.
1) Epithets (green, dark), personification (waiting for a breath, listening, looking); 2) personification (was silent indifferently).
_ 31 -ґ\l 1 "\u003e ll, ґLll
greenish, muted, sensitive, vigilantly, plaintively, indifferently, always.
[ ,Ide.epr.-. _o_b.|,]
D-572 (P-357). 1. This phenomenon is ice drift.
-i x r^;
After (preposition) an hour, I saw a new, also (union) picture I had never seen: the ice cracked, broke (scrap) into (pretext) separate blocks, water (water) splashed between (pretext) them; they ran (run) one on (pretext) another: the big and (union) strong flooded the weakest, and (union) if (union) met (meeting) strong morning, then it rose with one edge
197 up, sometimes floated for a long time in (preposition) this position [th | (pr. fall., variety 2 fold); sometimes both blocks collapsed into (pretext) small pieces and (union) with (pretext) crash plunged into (pretext) water.
personification - . epithet - .
metaphor - .
I saw Ts.trsskalPsya,. broke Psya, splashed ... naboga-tL. flooded .. met. rose. floated. collapsed, sank.
. l. X I ^ X I f _ X I ^
5. I saw a picture. broke into pieces. there was an emphasis. sub- X I ^ X I ^ X I ^
took the edge. floated in position. shattered into pieces. on-
X I ^ X I ^
loaded with a bang. plunged into the water.
D-573 (P-358).
I know the edge; there. on the shore Alone, the sea splashes; There. it rarely snows. Cloudless. there the sun shines On the scorched meadows; Oak forests are not visible - the steppe is naked Above. the sea spreads alone. Narrative. non-exclamatory. complex. unionless:

two-part. widespread. complete. uncomplicated.
two-part. widespread. complete. uncomplicated.
one-component. widespread. complete. uncomplicated.
two-part. impersonal. widespread. complete. uncomplicated.
Bipartite. widespread. complete. uncomplicated.
x I * x I * x i _
2. Splashes alone. rarely fall. shines brightly.
Secluded ^ secluded ^ secluded ^ alone. Cloudless ^ cloudless ^ cloudy ^ cloud. 5.. Scorched
198
Scorched - Communion N. f. - singed From the verb to scorch
Fast. signs: unreturned, suffering, owls. view, past temp. Non-post. signs: full, plural, vin. pad. To the meadows (what?) scorched
D-574 (P-359). Feminine Masculine Neutral Pretty shoe Man's shampoo Yellow taxi New package Rotten potato Draped coat Wrinkled cuff Red curtain Night highway Old callus Steel rail New piano Exemplary youth Transparent tulle Apricot marmalade Advertising brochure Black grand piano Terry towel Soldier's overcoat Tall poplar Familiar name Famous surname Long way Hot cocoa Black ink Ripe vegetable Blue flame Neighboring reserved seat Newsstand Pitiful insect Sick liver Soft astrakhan garden scarecrow
D-575 (-). Night Petersburg in late autumn.
Have you ever walked late in the autumn (belatedly) in the evening along the remote (distant) Petersburg (Petersburg) streets?
-i nar. A f-^ adj. about.
The high walls of houses, | occasionally „QCvesh ^ nNyS ((i (s ^ | t) (... T ^ with a dim shine of lanterns (lantern) |, seem (3 l.) Even blacker than the sky. [In some places the buildings and gray clouds merge . (pour) into one ^ mass (memory)], [and the lights in the windows "glisten like moving (from verb 1 ref. move) stars]. Rain with a monotonous (image) noise falls on the roofs and pavement. Cold the wind blows | blows (1 sp.) with force and, |closing_into the gates|, stops (1 sp.) plaintively.
- "S f ^, I L-~ 4 dep. ob.
pedestrian] or [dragging (3 l.) cab (carry), |. cursing_ne.g. Nastya| (without no is not used). [But soon everything calms down (t ^ iho, 1 question)], [occasionally only a long (long) is heard
ґ n, plus. about. f-Sj
a whistle on the watchtower (memory) or the creak of a barge [rocked_(kaeka)) by gusts_of the wind|, and [again everything sinks (3 years) into silence].
199 Walls - noun N. f. - wall
Fast. signs: inanimate .. narc .. f. r.. 1 cl. Non-post. signs: pl. them. pad. The walls seem
Domov - noun N.f. - house
Fast. signs: inanimate.. common.. m.r.. 2 cl. Non-post. signs: pl. pad. Walls of (what?) houses.
Petersburg - adjective N.f. - Petersburg Post. signs: related. Non-post. signs: pl. h.. date pad. Along the streets (what?) of St. Petersburg.
Gray - adjective N.f. - Gray Post. signs: qualities. Non-post. signs: pl. them. pad. The clouds (what?) are gray.
Seem - verb N.f. - seem
Fast. signs: unreturned. view .. non-transitional .. 1 ref. Non-post. signs: vyv. inc.. temp.. pl.. 3 l. The walls seem
Merge - verb N. f. - merge
Fast. signs: return. view .. non-transitional .. 1 ref. Non-post. signs: vyv. inc.. temp.. pl.. 3 l. The clouds merge.
Illuminated - Communion N. f. - illuminated From the verb to illuminate
Fast. signs: unreturned .. owls. view.. past. bp.. suffering. Non-post. signs: full .. past .. temp.. plural. Walls (what?) illuminated.
200
Remote - communion N. t. - distant From the verb to remove
Fast. signs: non-return., owls. view., past vr., suffering. Non-post. features: full, past, temp., pl. Through the streets (what?) remote.
Cursing - gerund participle From the verb cursing Fasting. signs: unreturned Immutable Dragging (how?) cursing.
Clogging - gerund participle From the verb clog Fasting. signs: unreturned Unchangeable Duet (how?) clogging.
Pitifully - adverb Adverb of manner Unchangeable Moaning (how?) plaintively
Occasionally - adverb Adverb of time Invariable
Illuminated (how?) occasionally. B - suggestion
non-derivative
Simple
C - preposition
non-derivative
Simple
I - union
Simple
writing
Or - union
Simple
writing
Li is a particle
Shape particle.
You - the pronoun N.f. - you
Fast. signs: personal signs: pl., dat. pad. Has it happened (to whom?) to you. 201 D-576 (P-360).
Magnolia in a white dress Bowed a misty body. And the blue-blue sea near the coast, sang furiously.
Narrative. non-exclamatory. complex. complicated:
two-part. widespread. complete. uncomplicated.
two-part. widespread. complete. uncomplicated. [-=]. and [-=].
But in the furious splendor of nature
I dreamed of Moscow groves.
Where the blue sky is paler.
Plants are more modest and simpler.
[= -]. where (-=). (- Oh and).
Narrative. non-exclamatory. complex. complex-subordinate:
main. two-part. widespread. complete. uncomplicated.
accessory place. two-part. widespread. half. uncomplicated.
accessory place. two-part. uncommon. complete. uncomplicated.
The main idea of the text is that the modest Moscow groves and plants are loved more by the lyrical hero. than a lush magnolia and a blue-blue sea.
The poet conveys the mood of light sadness.
Metaphor: inclined. foggy body; the sea sang.
Epithets: blue-blue sea; foggy body.
.White.foggy. blue-purple. .violent. Moscow.
blue. paler.
. .more modestly. simpler.
white - adjective
N. f. - white
Fast. signs: qualities.
Non-post. signs: full. units. h.. m.r.. pr. pad.
In a dress (what?) White.
202
Foggy - adjective N. f. - misty Post. signs: qualities.
Non-post. signs: full, pl. h., sr.r., vin. pad. The body (what?) is foggy.
Blue-blue - adjective N.f. - blue-blue Post. signs: qualities.
Non-post. signs: full, single h., Wed. rd, im. pad. The sea (what?) is blue-blue.
furious - adjective
N.f. - furious
Fast. signs: qualities.
Non-post. signs: full, single h., m. r., etc. pad.
In a brilliance (what?) furious;.
Moscow - adjective N.f. - Moscow Post. signs: related. Non-post. signs: pl. h., vin. pad. Groves (what?) Moscow.
blue - adjective
N.f. - blue
Fast. signs: qualities.
Non-post. signs: full, single h., Wed. genus, them. pad. The sky (what?) is blue.
paler - adjective
N.f. - pale
Fast. signs: qualities.
Non-post. signs: compare. degree
The sky (what?) is paler.
More modest - adjective N.f. - humble Post. signs: qualities. Non-post. signs: compare. degree Plants (what?) are more modest.
203 Easy - adjective
f. - simple
Fast. signs: qualities. Non-post. signs: compare. degree Plants (what?) easier.
D-577 (-).
The main idea is to show. What talent did Antonio Stradivari have?
2. Manufactured - communion. N. f. - made From the verb to make
Fast. signs: passive. unvoiced .. unes. view. past time.
Non-post. signs: complete. pl. number. wines pad. Violins (what?) made.
Three hundred - numeral N.f. - three hundred
Fast. signs: quantitative. complex
Non-post. signs: genitive case.
Violins (what?) made more. .Shekhsot. years ago.
Thirteen is a number. N.f. - thirteen
Fast. signs: quantitative. simple. Non-post. signs: vin. pad. Did (when) at _thirteen_years.
Ninety is a number. N.f. - ninety.
Fast. signs: quantitative. complex. Non-post. signs: vin. pad. Made (when?) at ninety years old.
One is a numeral. N.f. - one.
Fast. signs: quantitative. simple. Non-post. signs: units. number. female genus. dates pad. Izgrtavlivayapo. one violin.
204
Made - communion. N.f. - manufactured. From the verb to make.
Fast. signs: passive, non-exalted, owls. view, past time. Non-post. signs: short, pl. number, im. pad. Violins (what?) are made.
Sounding - communion. N.f. - sounding. From the verb to sound.

Non-post. signs: pl. number, gender pad. Shades (what?) sounding.
The first one is numeral. N.f. - the first
Fast. signs: ordinal, simple. Non-post. signs: vin. pad. Tool (what?) First.
Unexpected - communion. N. f. - unexpected. From the verb expect.
Fast. signs: suffering, non-elevating, nonsov. view, past time. Non-post. signs: pl. number, TV pad. Shades (what?) Unexpected.
Unique - communion. N.f. - unique From the verb repeat.
Fast. signs: suffering, unascended, owls. view, present time. Non-post. signs: units. number, vin. pad.
In tone (what?) Unique.
Fascinating - communion. N.f. - bewitching. From the verb to bewitch.
Fast. signs: real, non-exalted, not. view, present time.
Non-post. signs: units. number, TV pad. Voice (what?) Bewitching.
205 Written - communion. N. f. - written. From the verb write.
Fast. signs: passive. unvoiced .. owls. view. past time. Non-post. signs: short. units h.. zh.r.. im. pad. which was written.
3. A rare violin sings like this. like violins. | made_br- s three hundred years ago by the great Italian master Antonio
Stradivarius! We got twin violins. |like_two_drops:..vrds similar to the violins of the great master|. Probably. he heard. how wonderful. in a bewitching voice | yet, not_done| the violin sings the music of Bach. Vivaldi. Handel.
4. Amazing = unusual. inimitable = unique. endless = long. unexpected = sudden. priceless = unique. beautiful = amazing.
There are many short adjectives in the text. because the text gives a description of objects and phenomena.
D-578 (-). In the night.
High! (Which one?) Hawthorn and wild rose rose like a wall. [Their branches are so intertwined (lash)]. (which seemed (seems-
Ґ ¦Tsl adj. about.
sya)). (as if the fiery flowers of wild rose (and) are white. Smelling. of almonds | hawthorn flowers somehow miraculously blossomed on the same bush).
The rosehip stood. | shvernavshsh. (sh? rshty ^ there: and_to_ crlntsu |. completely (from the adjective perfect) festive. covered_many_sharp_buds. Its flowering coincided (coincide) with the shortest nights - our Russians. a little (=slightly) northern nights. (when the nightingales rumble in
¦ ¦ ¦ ¦ --^ adv.
dew all the way). (when the greenish dawn does not leave the horizon). and (in the deadest time of the night it is so light). (that mountain peaks (top) of clouds are clearly visible in the sky). In some places, on their snowy steepness, you can see a pink reflection of sunlight.
incl. about.
And a silver airliner. | going, and YJna_brshPY_vysr- those | sparkles over this night. How. slowly. (olt adj. slow) flying.star. because at that height. (where lies (lay) his path). the sun is already shining. 206
noun adj. ch. incl. ger.
Walled, tall, heaving, smelling, turning around,
m. etc. the union is frequent.
him, absolutely, on, because, so.
D-579 (-). 1. The main idea of the text is that nothing in nature can compare with malachite.
It has long been customary to look for analogies to the color of the Ural malachite in wildlife. But we still have to admit that the colors of malachite do not fully correspond in nature.
[=b what (=).
The greenery of trees and flowers is born from the warmth of the sun. When we peer into the leaf of a plant, we admire the harmony created by nature itself.
[-=], then (=).
The veins in the strength of the green leaf are always softer than the color of the leaf itself. These veins, penetrated by sunlight, seem light and openwork, like a cobweb.
The greenery of malachite is heavy and cold, just as the stone itself is heavy and cold by nature.
[- and ], like (and -).
Green color in nature calms the eye, but in malachite it is restless, dynamic. Coloring is distributed unevenly, by impulses. Often around bright shades of green circle, flashing and fading, pale green and bluish-green blotches.
2. Openwork - through, fine mesh.
Analogy is a form of inference when, based on the similarity of two objects, a conclusion is drawn about their similarity in other respects.
Dynamic - in motion.
An impulse is a stimulus, a push that causes some kind of action.
[But we still have to admit] (that the colors of malachite do not fully correspond in nature).
.
(When). [then. | prich_ob |].
When ... then - union
Composite
submissive
[Malachite green is heavy and cold]. (how heavy and cold by nature the stone itself).
. (How). How - Union Simple
submissive
5. Long since - adverb. The adverb of time. Immutable
It is customary to search (when?) for a long time. Born - communion. N. f. - born. From the verb to give birth.
Fast. signs: passive. returnable. owls. view. past time.
Non-post. signs: short. units h.. wives. genus. Greenery (what?) is born.
Created - communion. N.f. - created. From the verb create.
Fast. signs: passive. unvoiced .. owls. view. past time. Non-post. signs: complete. units number. female genus. tv. pad. Harmony (what?) Created.
Always - adverb Adverb of time Unchanged Softer (when?) always
Permeated - communion. N.f. - penetrated. From the verb to penetrate
208
Fast. signs: passive, non-exalted., nesov. view, past time.
Non-post. signs: full, pl. number, im. pad. Veins (what?) Permeated.
Uneven - adverb.
Adverb of action.
Immutable
It is distributed (how?) Unevenly.
Often - adverb.
The adverb of time.
Immutable
They circle (when?) often.
Flashing - gerund.
From the verb to flare.
Imperfect species.
Immutable
They circle (how?) flashing.
Fading away - adverb.
From the verb to fade away.
Immutable
Imperfect species.
They circle (how?) fading away.
D-580 (-). The photo shows a decorative item made of malachite and bronze, representing the pinnacle of the stone-cutting art of Russian masters. The mysterious pattern of the stone and the magnificent green carpet, created from small thin malachite tiles, awakens fantasy and imagination. A luxurious bowl resembles a flower bed. Gilded bronze, from which the baluster legs are made, gives warmth to the green cold stone.
Decorative - 1) Serving for decoration. 2) Picturesque, colorful and elegant.
Baluster - a figured column in the railing of stairs, terraces, balconies, etc., which serves as a support and decoration.
to -C x * -, x * -
2. Decorative item, stone carving art, Russian
masters, a mysterious pattern, a magnificent carpet, a green carpet, made of small tiles, thin tiles, malachite
209 -NX I "\u003e X f X ^ f\u003e X
tiles, luxurious thicket, flower bed, gilded bronze, green stone, cold stone.
D-581 (-). Artistic style, style - description of the environment + description. Language means: metaphors (the dawn burned, with liquid gold, a magical fire), comparisons (exactly in the mouth of a volcano (a turnover introduced by the word exactly), liquid gold (tv. fall.), glowed with lights (tv. fall.), rose by a dome ( tv. fall.)), epithets (hot, flaming, heavy, gray, crimson, amber, purple, meek)
Magic fire.
To the west, outside the city, the dawn burned. As if in the vent of a red-hot (hardening), flaming_.liquid_J30 volcano, heavy (heavy) gray clouds (cloud) fell (falls) and glowed
adj. adj. adj.
wavo-red (blood), and amber and violet lights.
-, adv. dep. noun C
And above the volcano rose like a dome, turning green with turquoise and aquamarine, the meek evening (evening) spring sky.
dep. about.
Slowly _ (from _ adj. slow) _ walking _ along the highway _ (memory) |,
I deep. v:p"n" "
| with difficulty dragging his feet in huge galoshes (memory.] |, Romashov
"nar." e" ch. """m" adj""""-"""noun;""""
gazed relentlessly (looking) at this magical fire .. (Narrative, non-exclamation, simple, two-part, distributive, os.
He looked and looked, unable to tear his eyes away. It seemed to him that the dawn was growing and was about to swallow everything around. Admiration and fear overwhelmed Romashov. Never in his life had he seen anything like it. The dawn gave him the impression of an eternal fire slowly consuming the blue of the evening sky.
Turquoise is a matte blue or greenish gemstone.
Aquamarine is a blue-green gemstone.

With. nar. noun nar. ch. etc. adj. noun
D-582 (-). And in the morning the sun rose again in a clear blue.
adj. noun noun adv. ch. nar. pr. n. n.
The last wisps of clouds. Randomly, rushed still to pull .. The sea
ch. dep. With. " "With. dep. places. adj.
subsided, swaying, and, as if ashamed. his, .night. razgu- 210
noun adj. adj. noun h. ch. pr. noun
la|... Blue, heavy waves beat more and more quietly against the stones, sparkling
dep. pr. noun adj. adj. noun
in. the sun_bright_^imm, cheerful_ splashes.
App. noun incl. incl. noun ch.
The far coast, 1freshly washed grdzd1, was drawn in
adj. noun nar. ch. noun incl.
transparent air. Everywhere life laughed, |
etc. adj. „ n. „
after a stormy night. (Artistic style, description of the environment, language means: metaphors, epithets, personifications).
D-583 (-). of medium height and rather wide (wider) in the bone (bone), but not full. He carried himself with graceful, neuldvimdUnp.) careless (without not not exaggerated) and at the same time majestic simplicity (simple).
Most remarkable was his face - one of those faces that are imprinted in the memory for life at first sight. The large quadrangular forehead (brow) was furrowed with severe, almost angry wrinkles. Eyes,. tube-like sitting (sitting) in the orbits, p. they hung over them with the folds of their eyelids, looked heavy (heavy), tired and dissatisfied. Narrow shaved lips were energetically and tightly compressed, indicating the iron will in the character of a stranger (without not using it), and the lower jaw, strongly pushing the ^ya, (move) forward, and firmly, shaking, gave the physiognomy an imprint of authority and perseverance ._The general impression was completed by a long mane of thick, carelessly (without being used.) Abandoned hair, which made this characteristic, proud head look like a lion's.
D-584 (-). The square, shaved chin and compressed lips testify to the strong-willed and strong character of the composer. The eyes are a little sad, outlined by thin stripes of eyebrows. A wide forehead is a sign of intelligence. Thick, slightly curly hair neatly styled. The correct nose emphasizes the strong-willed features of the face.