Libmonster ID: RU-17136
Автор(ы) публикации: Lyudmila BUDAEVA

by Lyudmila BUDAEVA, Deputy Director of the Federal State Cultural Institution "Tula State Museum of Arms"

The State Museum of Arms, which has become a visiting card of the city, is housed in an ancient building in the territory of the Tula Kremlin, a monument of 16th century architecture. Many of its 8,000 exhibits, which are kept in its reserves and displayed in the halls, represent development stages of national science and technology, and testify to the talent of outstanding Russian masters.

The first in Russia state arms factory was founded in Tula by Peter the Great in 1712. That is how the foundation of the powerful military industrial cen-ter of the country was laid. From 1724 on samples of arms interesting in terms of design engineering were being col-lected there, following the emperor's order "...not to recast or damage ancient guns and flint-lock rifles, but to hand them over as curiosities to armories for storage". So, this is the beginning of the history of our museum.

HISTORY OF THE COLLECTION

On July 23, 1757, General Feldzeugmeister Count Shuvalov ordered the Tula Arms Office "to keep curious items in proper order and clean in armories and to describe in detail their quantity and names, their price and specific features... and send me the list".

In December 1775, Catherine the Great ordered to set up a Chamber of Rare and Model Arms at the fac-

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tory. According to researchers Academician Iosif Gamel (1788-1862) and engineer Sergei Zybin (1862-1942), samples of ancient national and foreign arms, military equipment and captured standards of the Petrine time were kept in its arsenal, workshops and offices.

For almost hundred years since the establishment of the Chamber, the factory survived ups and downs, namely, it accomplished a great labor feat in the Patriotic War of 1812, was burnt down during an absurd fire in 1834, but the collection survived and is constant-ly replenished.

In the first years of Soviet power, when estates of landowners and houses of industrialists blazed, the museum hardly escaped destruction. In 1917, it was liq-uidated, its property was scattered all over the attics, storehouses and offices. However, on January 5, 1920, the Central Board of Artillery Works, taking into account the enormous importance of Tula arms factories, ordered to collect all remaining historical items there and to reopen the museum. The Board took over the responsi-bility for storage of its exhibits available mostly in single copies. A special guard was set to look after showcases.

In 1996, taking into account availability of the uni-que monuments to arms, which have no parallel in the world, the Russian Federation government resolved to establish the Federal State Cultural Institution "Tula State Museum of Arms". Thanks to the collected exhibits, we can trace the evolution of the materiel from the end of the 16th century up to this day. Besides, of prime importance is the fact, that the history of most of the exhibits is reflected in the documents of archives.

Percussion-flint rifles, carbines and blunderbusses, displayed at the museum today, are silent witnesses of the great events of the 18th century. Russian swords, sabers and broadswords resemble petrified lightnings. With them Russian soldiers defended their motherland in the battles at Poltava (1709), in the Alps (1799), Kunersdorf (1758) and Izmail (1790). These collec-tions of fire- and cold arms of Tula production are the most significant in our museum. A majority of models received different awards, including the short rifle made in 1775 in commemoration of the visit of Cathe-rine the Great.

IN HONOR OF CATHERINE THE GREAT

The Russian Empress visited the city on December 13, 1775, upon completion of the festivities of the Kuychuk

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Kaynadzhirsky Peace Treaty* and stayed at the Demi-dov house, which was built as early as in the time of Akinfy Demidov** and was known for its considerable dimensions and really royal splendor of the interior. She had a special interest as regards Tula, as at that time the decorative skill of local craftsmen was flourishing. They used incrustation, obron (mat embossing on the design or its background), golden and silver laying to decorate certain items. The black color and various shades of blue, obtained by different methods of thermal treat-ment, were mainly used for metal articles (accessories, tobacco boxes and ink-pots). Such background goes well together with golden and silver ornaments, creating an impression of splendor and magnificence. The Empress used to give articles of Tula craftsmen as a present to foreign guests, who especially appreciated a combina-tion of blue steel with gold-plating and admired beauti-ful articles.

The Empress promoted sale of products of the Tula works in the country and abroad. Her decree allowed free export of arms at 10 kopecks for any exported weapon and at 5 kopecks for a pair of pistols, each saber or broadsword, a reasonable duty at that time. It is not accidental that Tula, though far from the sea routes, was one of the leading commercial and industrial centers of Russia, and it was here that the Mediterranean compa-ny was set up. By the way, 20 shares of this company, 500 rubles each, belonged to Catherine the Great.

At the arms factory the Empress was greeted with honors. The factory commander major-general Zhukov showed her a production process. In the premises, where rifle barrels were welded, the high guest was offered a small hammer on a steel dish, which she used to hit one of the barrels three times. It was later used for manufacture of a hunting carbine with the following inscription in gold: "Her Imperial Highness, while staying at Tula arms factories, was kind enough to hit this rifle herself thrice with the hammer in memory of the visit of Her Imperial Highness to the factories on December 14, 1775."

Today we are delighted with this wonderful sample of the skill of craftsmen of the second half of the 18th cen-tury. Along the whole length of the carbine, from the back plate*** to the forearm end (the upper part of the

* In 1774 Russia and the Ottoman Empire signed the Kuychuk Kaynadzhirsky Peace Treaty, which put an end to the Russo-Turkish War of 1768-1774.-Ed.

** Akinfy Demidov (1678-1745)-a Russian entrepreneur from the dynasty of the Demidov merchants.-Auth.

*** Back plate is a detachable element of the butt, which covers its end-Ed.

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gun-stock, where the barrel is fastened to the mecha-nism), a delicate ornament is twining, made of golden and silver wire inserted into the wood-golden Caucasi-an walnut. The large butt design is in keeping with its relative solidity and the fine forearm is accentuating the elegance of the article. The ratio of nonferrous met-als is well chosen: gold is only an interlink of the orna-ment. The breech end of the barrel (public factories put their trade-marks on it here) and all lock parts are dec-orated, which is one of the most ancient ways of pro-cessing precious metals-embossing. It was known by craftsmen of the Moscow Kremlin Armory as early as in the 15th century. But Tula craftsmen improved it by mak-ing it volumetric and bold. We see a new form of orna-ment in the shape of flowers, garlands and bows, and its conceptual center, namely, a monogram of Catherine the Great. The letters seem unusual against the polished bluish-black background, and the bunches of roses are neatly and accurately made. The skillfully made images of animals are used for decoration of the trigger and the priming ledge*. One more method of rifle decoration presented here is sculptural processing of metal. Un-fortunately, researchers failed to find out who had been honored to decorate the rifle designed for the Empress as a gift, but, undoubtedly, he was an Expert at his job. The documents kept at the archives preserved records, how Austrian Emperor Joseph II admired this wonder-ful rifle during his visit to the Tula Arms Factory in 1780. In 1872, it was granted the highest award of the First Polytechnical Exhibition in Moscow.

Decoration of the relics made in memory of the visit to the Tula arms factory by members of the royal family underwent changes in the course of time. Their cre-ators, touching dead metal and wood by their work hardened hands, put a part of their soul into them as well as creative inspiration, and made "royal" rifles in-valuable works of decorative art.

"ROYAL" RIFLES

The Tula craftsmen achieved great success and inter-national recognition in the 19th century too. Their arti-cles were awarded gold medals and first-degree diplo-mas at the exhibition in Philadelphia in 1876 and at the World Fair in Paris in 1900. First of all, worthy of men-tion is an infantry rifle, 1870 model, decorated by Nikolai Morozov and Alexei Polosatov. It was made in com-memoration of the visit of the factory by Alexander II, which is testified by the gold inscription: "His Imperial Highness Emperor Alexander Nikolaevich, in com-memoration of his visit to the Tula arms factory on September 1, 1875, deigned to print with his own hand the name of the factory on this barrel." And below: "Tula Arms Factory. 1875."

The gun-stock** is fully covered with very fine carving, a carpet of rich floral ornament with two squiggly super-imposed lines as a connecting element, stretched along the whole length of the decoration. The butt neck reproduces the emblem of the Russian Empire with the monogram of Alexander II in the center in the minut-est details. The emblem of Tula with the crown and framed with laurel and oak branches symbolizing the creation place of this relic, is cut on the rifle forearm. The rifle's metal parts are also elaborately decorated: engraving on the stock rings and the trigger guard is made in the same style, but it is deeper on the back plate and the forearm end, more like obron, and by


* In medieval hand firearms, powder charge loaded into the barrel chamber was ignited by setting a smouldering wick to a small (the so-called priming) hole in the barrel side. Starting from the 15th century, near such holes they used to make ledges, on which the primer was strewn.-Ed.

** Gun-stock is a part of rifle design, due to which the rifleman holds the rifle in his hands.-Ed.

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character of the design is similar to carving. The work belongs to Alexei Polosatov, who in 1861 was awarded a silver goblet "for steel fretwork" at the Tula exhibition of rural works.

The rifle decorated by Morozov and Polosatov is not only remarkable for the superb skill of its creators, it is also a monument to deep love for the beauty of wooden pattern, highly appreciated by Russian people, who, from generation to generation, decorated with carving everything-churches and palaces, salt-cellars and spin-ning wheels in a peasant's hut.

The dragoon rifle 1870 model serves as a fine speci-men of incrustation. It has no serial number, was made outside the series, in order to become a memorable weapon. The rifle barrel has a golden imprint: "Imperial Tula Arms Factory. 1887. Her Imperial Highness Empress Mariya Fyodorovna in commemora-tion of her visit to the Imperial Tula Arms Factory on May 9, 1887, deigned to print with her own hand the factory name on this barrel." The right side of the butt* bears the Empress' luxurious monogram and crown, and the left one has a stylized inscription "May 9, 1887". All metal parts, namely, a bayonet and a clean-ing rod, are decorated with the ornament made by incrustation** of gold into metal.

Craftsman Mikhail Stepanov chose ivory for incrusta-tion and skillfully solved the problem of color unity of the gun-stock and a light pattern by running a gold wire between the latter and the brown wood. The rifle is cov-ered with this pattern as if with an openwork veil, made of symmetrically grouped scrolls with stylized birds in the center. The wonderful white-pink ornament is shaded in a soft background of the Caucasian walnut. It should be noted that gold is a pliant and soft material, which can be stretched to get a finer wire or delicate laces, but the work with brittle and fragile ivory requires extreme caution, patience, great experience and, above all, talent.

Not many craftsmen were granted the right to put their names or personal stamps on the articles. Presumably in 1924 (or a bit later) it was decided at the Tula arms factory to restore the names of creators of the decorat-ed rifles displayed at the museum. Mikhail Stepanov


* The side of the rifle butt-an inclined influx on a side part of the butt in a section, which is in a direct contact with the rifleman's cheek.-Ed.

** Incrustation is a method of decoration of rifle butts, when a thin wire as a thread is implanted in wood.-Ed.

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was among the invited famous armorers. According to legend, he took his rifle, imperceptibly pressed a special point on the butt deftly caught up the ivory figurine and showed its reverse side with his initials. But he did not disclose the whereabouts of a secret lever. Instead, he shared all his professional secrets with his fellow-craftsmen.

The "royal" rifles with a flintlock were exhibited at the First Polytechnical Exhibition in Moscow in 1872, and in 1900, the whole collection with other articles of Tula craftsmen was awarded a Gold Medal and First-Degree Diploma at the World Fair in Paris.

HUNTING MOTIFS

The decorated specimens of hunting weapons of pre-sent-day production included in the collection of the museum are no less interesting than masterpieces of the past. One of the best among them is, of course, a set consisting of a TOZ-34E rifle (Tula arms factory, model 34E), two knives and a cleaning rod (1989). They are kept in a case made of Caucasian walnut with a splen-did carving, which is an example of an exceptional tal-ent of the craftsman Ivan Shcherbino.

The rifle butt, its neck and forearm are decorated with carving: a delicate floral ornament, hunting scenes, scroll and leaf compositions, made by means of silver and pearl incrustation.

The picture on the right side of the butt attracts attention by surprising dynamism and craftsmanship: elks, sensing nearness of people, pricked up ears and stand still. If it were not for the ornament of silver scrolls and stylized pearl leaves, framing this scene from forest life, one could easily imagine, how a tree branch crunches under the hunter's feet, and animals rush away from danger.

The decoration forms and methods are successfully combined in this set of weapons. In the hands of the craftsman, simple furrows on the butt with the incrust-ed silver wire suddenly become a one-piece ornament, and we witness a miracle of transformation: we see not a rifle butt, but a thin and delicate lace. In exactly the same way Shcherbino plaits and unplaits wooden laces and creates unique ornaments.

Other rifles of modern craftsmen are also excellent, as well as their hunting scenes, which are lucid and lyrical.

HISTORY OF MILITARY EQUIPMENT

Combat weapons were also produced in Tula, and many of their specimens are museum rarities today. Of special interest is a rifle designed by engineer Sergei Mosin,-the first Russian • 375 rifle of 1891, equipped with the then original mechanism, providing cartridges without delay at loading.

Our collection is unique in terms of diversity and sig-nificance of its relics-from pilot models of 1885 to car-bines of the Great Patriotic War (1941-1945). We have the rifle made on the day of accepting it as a combat weapon with an inscription on the barrel: "Imperial Tula Arms Factory. 1891. No. 1." Nearby is exhibited weapon No. 1 000 000 "presented to His Highness Tsar Nicolas II and returned to the factory museum of arms with a deed" (1898).

No. 1 Russian machine-gun of the Maxim system (named after the American inventor Hiram Maxim), made in Tula in 1905, is also worthy of mention. Craftsmen Pavel Tretyakov and Ivan Pastukhov made more than 200 (!) changes in the initial design, and owing to the accuracy of manufacturing mobile parts, including a magazine chamber and a lock, it became possible for the first time to replace them with spare parts in combat con-ditions. Separately displayed is a weapon developed by the outstanding designer Fyodor Tokarev, namely, machine-guns, carbines, pistols, automatic and self-loading rifles.

In most cases inventions are named after their authors by the first letters of their surnames. Unfortunately, within the limits of one article it is not possible to tell about all articles of the Tula craftsmen, kept at the

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museum. But it is essential to speak about the collection of aviation cannon and machine-guns. We are proud of them. We shall try to find out why development of such weaponry has gradually turned into an independent direction in working out military equipment.

Construction of aviation machine-guns in Russia started in 1918 (works of the founder of the national school of automatic weaponry Vladimir Fyodorov) based on the existing light and heavy analogs, which allowed to substantially reduce the creation time of new specimens and to master their production, to facilitate their use and study in the army. This is confirmed by the surviving rare specimens of the air machine-gun PV-1, put into service in 1928, Maxim machine-gun modifi-cations and also by pilot specimens of Vasily Degtyarev (1928) and Fyodor Tokarev (1929).

However, the growth of speed of fighter planes stipulat-ed new requirements to aviation weaponry. Therefore, designers were entrusted with a task to develop such machine-gun adapted for rifle cartridges, which would secure a reliable synchronous shooting through the air-craft propeller and from a turret unit*. The first specimen was developed in 1930 and put into service after range tests as "7.62 mm aviation rapid-firing machine-gun of the Shpitalny and Komaritsky system. 1932". ShKAS, as specialists call it, can make up to 1,800 shots per minute-a record of that time.

The UB machine-gun (Berezin's universal) was a widespread type of aviation weaponry designed by Mikhail Berezin and put into serial production in 1939. It was the best specimen of a large-caliber (12.7 mm) machine-gun at that time. Depending on the place of its installation, there are three types of such machine-gun, i.e. turret, wing and synchronous. The last two types have a remote control recharging system by using compressed air in case of delay in firing. It is the first system of pneumatic recharging of a machine-gun in national aviation.

Cannon of different calibers are widely used in aviation. In 1941, Tula cannon VYa-23 was put into service, which was designed by Alexander Volkov and Sergei Yartsev. It left behind all former specimens in caliber, rate of firing (600 shots per minute) and reliability of automatics. The museum has also 23 mm cannon by Boris Shpitalny (the 1930s) and a drum-type cannon by Vyacheslav Silin based on a revolving drum with 8 mm cartridge chambers and a gas engine by analogy with a revolver design.


* Turret unit is designed for fixing machine-guns or small-bore automatic guns and provides by means of special systems and power gear their laying in horizontal and vertical planes, as well as all-round fire.-Ed.

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According to specialists, the post-war period was marked with the struggle for an increase in firing speed. Aviation had to be reequipped with new high-efficiency weapons. The basics of the system approach to its development were laid in the works of Arkady Shipunov (Academician of the Russian Academy of Sciences since 1991) and Vasily Gryazev, Dr. Sc. (Technol.), who in the 1960s-1970s suggested to go over from separate specimens to development of a unified system of small-caliber guns for all types of troops. Our museum, the only one in Russia and in the world, has their modern specimens. For example, the 23 mm six-barrelled gun GSh-6-23M (put into service in 1974), worked out by the aforesaid specialists, makes 10,000 shots per minute, more than any other national models. It is installed in front-line bombers SU-24M. At a maxi-mum speed of the aircraft near the ground the shells fall at a distance of 3 m from each other.

Let us describe 30 mm single-barrelled aviation gun GSh-301, the lightest gun in the world, called a "balle-rina" by specialists. Its weight is 43.5 kg and it makes 1,800 shots per minute. Therefore, this gun almost twice surpasses foreign analogs in "elegance" and in the rate of firing, as well as in the initial speed and mass of the discharged shell. Besides, it is the first serial nation-al gun equipped with water cooling. Its casing contains 700 cm3 of water. On heating in the course of firing, moisture turns into vapor, which passing through a screw bore on the barrel, cools it and then goes out.

MISSION OF THE MUSEUM IN THE 21st CENTURY

Special-purpose weapons are also displayed at our museum. Of interest are its rare specimens designed for swimmers-divers: the APS automatic rifle and SPP-1M pistol (both abbreviations mean "underwater special-purpose") and also small-sized pistols-machine-guns PP-90, PP-93, etc. The museum funds include also struggle/attack noiseless weapons, designed specially for snipers, namely, rifles, automatic rifles, carbine KS-23, a special-purpose knife for intelligence officers (NRS-2), pistols MPS (small-sized special-purpose) and PSM (self-loading small-sized).

The exposition acquaints visitors with the Splav State Scientific-Production Enterprise established in 1945, which is engaged in developing artillery cases of Grad and Smerch volley fire jet systems and the latest achievements in this field.

The interest of visitors is attracted by a collection of working miniature models of hunting and combat weapons, which proves special accuracy and skill in manufacture of "curious" articles. Revolvers are most surprising of them. The weight of one of them is 8.97 g, caliber 1.5 mm, length 35 mm, cartridge is less than 4 mm. Another revolver of the same caliber is less in weight-5.44 g; the well-known "Bulldog" is no longer than 20 mm, and can make a hole in a paper target at a distance of five steps. The curious exhibits include also a miniature book by Mikhail Pochukaev (1970) and a flea shod by the present-day craftsman Nikolai Aldunin, reminding of the famous Tula craftsman Levsha*.

The museum collection consists of different types of Oriental weaponry, and the available exhibits provide a sufficiently comprehensive idea of the development of artistic skill in Turkey and Iran. Of particular interest are the yatagan, a kind of weapon of Turkish janissaries in the 17th-19th centuries, the khopesh, a variety of com-bat sickle (it is used in Northern Africa even today) and the Malayan dagger "kris" (15th century), which has a peculiar wavy blade symbolizing the sacred Serpent.

The West-European firearms of different systems occu-py a prominent place in our collection: Mauser (Ger-man), Mannlicher (Austrian), Snyder (British), Werndl (Austrian), Peabody (USA) and Albini (Belgium).

Visitors can compare the methods of artistic decora-tion of foreign weapons with the traditions of national school. In this respect we must mention a Cossack rifle, model 1860, made at the Belgian Tanner Company and distinguished for its strict decoration, namely, the bar-rel is blued to black color, the floral ornament is pre-sented in the form of large golden leaves-flowers against the black background.

The stream of people visiting the museum is con-stantly growing, therefore a new building is under con-struction now in Tula. Of course, the concept of a future exposition will be different, with a tendency for humanization of weapon display. We hope to revive national traditions of collecting monuments of science and engineering. One of the most important aspects of the work of our museum today is promotion of norms of proper handling of weapons as the quintessence of modern technology.


* Levsha (Lefty)-a character from Nikolai Leskov's story Levsha (1881). He shod a metallic flea made by Englishmen and thus brought fame to Russian craftsmen. It is believed that Tula armorers Alexei Surnin and Yakov Leontyev, sent on a mission to England in 1785, served as pro-totypes.- Ed.


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