Despite his aristocratic origins and the title of count, Fyodor Petrovich Tolstoy (1783-1873) earned his living by his labor. His family lived extremely modestly; the Tolstoys rented a small house near the Smolensk cemetery.

Zaryanko S.K. “Portrait of the artist and sculptor Fyodor Petrovich Tolstoy,
Vice President of the Academy of Arts." OK. 1850

Luck entered the house in the person of Secretary of State Nikolai Mikhailovich Longinov. He introduced Tolstoy to Empress Elizaveta Alekseevna, and she asked the artist to show her his watercolors. One of them, on which a currant branch was painted, was extremely popular with the Empress. Tolstoy gave her the watercolor as a gift.

F.P. Tolstoy."Red and white currant berries" . 1818.

Elizaveta Alekseevna was very pleased, and in response she sent Tolstoy a diamond ring. The need for money forced Tolstoy to sell the ring. This allowed the family to rent a nice house in St. Petersburg. But the story didn't end there. Elizaveta Alekseevna several more times ordered Tolstoy to draw currants for her relatives abroad, and each time the artist received an expensive ring for the watercolor. Recalling these years later, Fyodor Petrovich said: “It was hard for me, but my currant helped me out. It’s not a joke to say that the whole family ate only currants...”

Actually, Fyodor Petrovich was a medal winner. Here are a couple of examples of what he did for a living (as we can see from what was described above, he did not make a very successful living):

People's militia of 1812. 1816. Medallion. Wax

Emperor Alexander's first step outside Russia in 1813. Bas-relief

But as an artist, Fyodor Tolstoy worked in the genre of “fake still life.” Such still lifes, on the one hand, look quite primitive and at the same time everything on them is so alive that it seems you can touch and even taste or smell the berries and flowers depicted in the paintings, that a butterfly is about to fly away or flutter bird.

Tolstoy F.P. Bouquet of flowers, butterfly and bird. 1820

Tolstoy F.P. Flower, butterfly and flies. 1817

This is how Yu.M. wrote about F.P. Tolstoy’s still lifes. Lotman in his work “Still Life in the Perspective of Semiotics”: “... “At first glance, still lifes of this type may seem either a tribute to primitive naturalism, or something related to extra-artistic illusionism, a “tour de force”, demonstrating deft skill and nothing more. This idea is erroneous: this is a game on the edge, requiring a sophisticated semiotic sense and indicating complex dynamic processes that, as a rule, take place on the periphery of art even before they capture its central spheres. It is the imitation of authenticity that makes the concept of convention a conscious problem, the boundaries and measure of which are felt by both the artist and his audience. If from this point of view we look, for example, at F. Tolstoy’s watercolor “Flower, Butterfly and Flies,” then it is easy to notice that on the sheet in front of us the artist juxtaposes different types of conventions: a butterfly and a flower are “as if drawn,” and drops of water In the drawing, the flies crawling on it and drinking this water “seem to be real.” Thus the butterfly and the flower become drawings of a drawing, images of an image. In order for the viewer to grasp this game, he needs a subtle sense of semiotic registers, a feeling of the drawing as a non-thing, and the thing as a non-drawing...”

Tolstoy F.P. Lilac branch and canary. 1819

Tolstoy F.P. A sprig of grapes. 1817

A man of extensive and varied knowledge, Tolstoy, among other things, was interested in botany. The library of the Russian Museum contains an atlas that once belonged to the artist, dedicated to the flora of the Russian Empire. Entering into a creative competition with the French artist, whose gouaches depicting flowers were once shown to Tolstoy by Empress Elizaveta Alekseevna, he defined his task as follows: “...with strict clarity, transfer from life to paper the copied flower, as it is, with all the slightest details, belonging to this plant..."

Tolstoy Fyodor Petrovich (1783-1873)

Tolstoy Fyodor Petrovich (1783-1873)

Tolstoy (Count Fyodor Petrovich) - medalist, sculptor, painter, engraver, one of the most influential figures in the field of Russian art (1783 - 1873).

He received his initial education at his parents' home in St. Petersburg and very early showed a love and extraordinary ability for drawing. He was sent to the Polotsk Jesuit college, where the famous Father Gruber had a strong influence on him; From there, Tolstoy entered the naval corps as a cadet, from which, in 1802, he was released as a midshipman into the Baltic rowing fleet.

Without ceasing to draw, he felt a positive calling to art only after his promotion to midshipman. Having decided to study sculpture and medal art at the Academy of Arts, Tolstoy began to attend classes at the academy as a free student and, in order to be more successful in his studies there, retired in 1804. Hard work in academic classes and the study of literature and history quickly developed the talent of the young artist, so that already in 1806 he attracted the attention of Emperor Alexander I, who appointed him to serve in the Hermitage, and in 1809 in the coin department, as a medalist .

In the same year, the Academy of Arts elected him to its honorary members. In 1825 he was made a teacher in the medal class of the academy, in 1828 he was appointed its vice-president, in 1842 he was elevated to the rank of professor of medal art, and a year after that - to the rank of professor of sculpture. He held the position of vice-president until the transformation of the academy that followed in 1859, after which he was a companion of the president until the end of his life. In 1854, the fiftieth anniversary of his artistic activity was solemnly celebrated and on this occasion a medal was struck in his honor.

In the history of Russian art, Count Tolstoy occupies one of the most prominent places not only as a gifted, enlightened and versatile artist, but also as a person who, with his transition from an aristocratic environment to the field of art, raised the importance of the artistic profession in the eyes of society and with his long-term stay in the post of vice-president. President of the Academy, who contributed greatly to the development of young artists.

Count Tolstoy's talent was most clearly shown in his works on the medallion part, such as twenty medallions with allegorical images of the events of the Patriotic War of 1812-14, twelve similar medallions in memory of the Persian and Turkish wars of 1826-29, medals: presented by the Vilnius University to Count F. Czapsky , from the St. Petersburg militia to Prince Alexander of Württemberg, in memory of the election of Grand Duke Nikolai Pavlovich as chancellor of Abos University, for the death of Emperor Alexander I, for the pacification of the Hungarian uprising, in memory of Duke Maximilian of Leuchtenberg and many others. etc.

In terms of sculpture itself, the count’s most important works are the four main and eight side entrance doors of the Moscow Church of the Savior, composed and modeled by him, with ornaments and colossal round figures and busts of various saints, a half-length statue of Christ, a bust of Morpheus in a wreath of lupins, a bust of Emperor Nicholas I in Slavic armor and royal purple and a statue of a nymph pouring water from a jug in the Peterhof palace park.

Among his works you can find naturalistic sketches...
Althea.

Branch of grapes.

Gooseberry branch.

Geranium.

Narcissus.

Dragonfly.

Cavalier star flower.

Still lifes...
Bouquet of flowers, butterfly and bird. 1820.

Lilac branch and canary.

Interiors...
In the rooms.

In the room sewing.

Family portrait.

Types of cities...
View of Bergen.

Franzensbad. From the road to Yeger.

And their inhabitants...
Paris. Types.

Genre painting...
Return.

Darling admires herself in the mirror. 1821.

By the window. Moonlit night.

Medals...

Silhouettes...
Napoleon on the battlefield.

Napoleon by the fire.

Mythology...
Neptune.

Pastoral.

Penelope's feast of suitors.

Knight of the Swan.

Portrait with family.

Fyodor Tolstoy was born into the family of Count P. A. Tolstoy, head of the Kriegs Commissariat. From birth he was enlisted as a sergeant in the Preobrazhensky Regiment. He studied at the Polotsk Jesuit College, then at the Naval Cadet Corps. He showed early talent for fine arts. While still studying at the Marine Corps, Tolstoy began attending the St. Petersburg Academy of Arts as a volunteer. In 1804 he resigned and began his career as an artist.
At the Academy of Arts, Tolstoy studied sculpture with I.P. Prokofiev. In 1809, he created his first medal “In memory of Chatsky’s educational activities.” That same year he was elected an honorary member of the Academy of Arts. In 1810 he was appointed to the St. Petersburg Mint. After the victory in the Patriotic War of 1812, he produced a series of medallions that were widely known, used in a version of the Alexander Column design. F. Tolstoy becomes the most famous Russian medalist; his series of 21 medallions dedicated to the War of 1812 brought the creator well-deserved recognition.
In 1818, Tolstoy joined the secret society “Union of Welfare”, where he was one of the leaders (chairman of the Root Council). He did not participate in the Decembrist uprising.
In 1849, the Council of the Academy of Arts approved Tolstoy as a professor for his services in the field of sculpture. Tolstoy also participated in the design of the Cathedral of Christ the Savior.
Fyodor Petrovich Tolstoy died on April 13 (25), 1873, and was buried at the Lazarevskoye cemetery of the Alexander Nevsky Lavra.

Please do not confuse with Fyodor Ivanovich Tolstoy - “The American”

Thanks to Katerina aka catherine_catt for adding a fragment from F.P. Tolstoy’s “Notes”.
“At the appointed time, I appeared in Her Majesty’s office, where she, with the same affection as the first time, deigned to receive me and showed me the collection she had received, which she really liked. This collection consisted of eighteen different flowers, painted with gwash paints on a grayish primer. colors on paper, beautifully arranged and executed with French chic. Looking at this collection and giving due justice to the skill of the Parisian artist in using gauche paints, I said: “It seems to me that in the manner adopted by this artist to depict flowers, one can see more of a desire to shine with effect and show off his taste, rather than with strict clarity transferring from life to paper the copied flower, as it is, with all the slightest details belonging to this plant, which is why in these so different flowers from the first drawing some kind of similarity is shown among themselves, despite their different forms and color scheme." To this the empress said to me: "Try to draw some flower and show me." Having never painted flowers, I accepted this offer.
Returning home, I found in our tiny garden a bush of rather beautiful light purple flowers with six leaves15. Having plucked a small branch with two flowers and greenery, I immediately began to sketch it, but not in watercolor, and not in gwash, and not on primed paper, although also of a wild tone, prepared in England. The water paints that I use for my drawings almost all consist of pure natural body paints, that is, various ochers, earths and chemically extracted from metals and some ores, and I use them according to a special method that I have adopted, which turned out to be especially convenient for painting flowers. and fruits.
A day later the drawing was ready, and I took it to the empress, who, having seen it, praised it very much and told me that she found in my flower more life and fidelity to nature. Her Majesty’s conclusion about my flower, painted from life for the first time, made me incredibly happy, and now in my free time from serious studies I will paint flowers and fruits.
From then on, I began to paint individually and in groups of different varieties of flowers, fruits and berries, Brazilian wonderful shapes and colors of butterflies, dragonflies, bugs (of which I have a large collection), bright colors of one color, and with metallic reflections, like foil of different colors , or dotted with beautiful patterns of different colors. The same goes for the birds of the New World, with their feathers of bright shiny colors, sometimes single-colored, sometimes speckled with different colors, sometimes with the metallic sheen of colored foil, and in other places shining like brightly hot coals.
Subsequently, I made a lot of drawings in all these genera for Empress Elizaveta Alekseevna, I made several large drawings for her, in which flowers, fruits, birds, butterflies, dragonflies and bugs were grouped together. I also drew her a collection of butterflies of ten copies, among which there are several with metallic tints. I painted a collection of dragonflies in 12 copies for Empress Maria Feodorovna. I drew many drawings both in this family and in other families for the albums of ladies and gentlemen, and not just for the royal family."

Graph Fyodor Petrovich Tolstoy(February 10, St. Petersburg - April 13, ibid.) - Russian painter, draftsman, medalist and sculptor, representative of late classicism, vice-president of the Imperial Academy of Arts, Privy Councilor.

Biography

Fyodor Tolstoy was born into the family of Count Pyotr Andreevich Tolstoy, head of the Kriegs Commissariat, the eldest of the sons of Count A.I. Tolstoy. A.K. Tolstoy was Fyodor Petrovich’s nephew, and L.N. Tolstoy was a cousin.

From birth he was enlisted as a sergeant in the Preobrazhensky Regiment. He studied at the Polotsk Jesuit College, in Belarus, then at the Naval Cadet Corps. He showed early talent for fine arts. While still studying at the Marine Corps, Tolstoy began attending the St. Petersburg Academy of Arts as a volunteer. In 1804 he resigned and began his career as an artist.

At the Academy of Arts, Tolstoy studied sculpture with I. P. Prokofiev. In 1809 he created his first medal “In memory of Chatsky’s educational activities.” That same year he was elected an honorary member of the Academy of Arts. In 1810 he received an appointment to the St. Petersburg Mint. Through his efforts, the medal business was raised to great heights and reached its peak in the first quarter of the 19th century.

In 1818, F. P. Tolstoy joined the secret society “Union of Welfare”, where he was one of the leaders (chairman of the Root Council).

Family

First wife (from 1810) - Anna Fedorovna Dudina(-), daughter of a commerce advisor. She was a constant model when Tolstoy created works in the spirit of classical antiquity. According to the daughter, my mother, charming and well-educated, an excellent needlewoman and artist, who was good at drawing with a pen from engravings, had an undeniable influence on her father. “Her image was in all the female figures made by my father.” She died in her sleep from apoplexy. She was buried at the Lazarevskoye cemetery of the Alexander Nevsky Lavra.

• Elizabeth(-), died of transient consumption.
• Maria(1817-1898) - writer, wife of the fiction writer P. P. Kamensky.

The second wife (from 1840) - Anastasia Ivanovna Ivanova (1816, St. Petersburg - November 1, 1889, St. Petersburg), together with her husband, sought the release of Taras Shevchenko.

• Catherine(1843-1913), artist, memoirist, founder of Russia's first drawing school for girls in Kyiv. Junge's husband Eduard Andreevich (1831-1898), ophthalmologist, professor.
• Olga(1849, St. Petersburg - October 25, 1869, Odessa), wife of State Councilor A. A. Dmitriev.

By a personal Highest Decree, dated February 12 (24), the vice-president of the Academy of Arts, Privy Councilor, Count Fyodor Petrovich Tolstoy was allowed to adopt his grandson (born of his daughter Olga, by marriage to Dmitrieva), the young son of State Councilor Alexander Alexandrovich Dmitriev, who is allowed take the surname and title of his grandfather and be called, hereditarily, Count Tolstoy.

Fyodor Petrovich Tolstoy.jpg

Self-portrait

Fyodor Tolstoy with family.jpg

Tolstoy with his first wife and daughters

A.F.Tolstay.jpg

Anna Fedorovna,
1st wife

Sergey Zaryanko 03.jpg

Anastasia Ivanovna,
2nd wife

Works

High reliefs and bas-reliefs

• "Boy under the Blanket"
• “Bathing Children” (both - Tver Regional Art Gallery),
• “Darling” (1808-09, Hermitage)
• portrait of A.F. Dudina
• “The triumphal entry of Alexander the Great into Babylon” (1809, Hermitage)

Sculptures

• “Head of Morpheus” (terracotta, timing belt),
• “Bust of Nicholas I” (, marble, Russian Museum),
• “Head of Christ” (, plaster, State Russian Museum; marble, Tretyakov Gallery).

Medallions of Fyodor Tolstoy

• People's militia. ( , timing)

Paintings

Two miniatures by Fyodor Tolstoy “Bird” and “Currant”, mentioned by his daughter Kamenskaya-Tolstaya M.F. in “Memoirs” are in the Irkutsk Art Museum, and 17 medals are in the Irkutsk house-museum of the Decembrist Volkonsky.

Literary works

Some literary abilities for an educated person of the 19th century are a natural and ubiquitous thing. And therefore, it is not surprising that similar works, authored by F. P. Tolstoy, were discovered and published. Among them, a review of one’s own activities, which relates more to a business documentary chronicle, and rather interesting Memoirs, traditional for its time. Here are both of these works:

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Notes

Literature

• Mroz E.K. Fyodor Petrovich Tolstoy. 1783-1873. - M.; L., 1946. - 40 p.
• Kuznetsova E. V. Fyodor Petrovich Tolstoy. 1783-1873. - M.: Art, 1977. - 336 p. - 25,000 copies.
• Kashtanova E. V.// Questions of history. - 2002. - No. 3. - pp. 125-132.

Links

• in the library "Staratel"
• // Russian antiquity. - 1873. - T. 7, No. 5. - pp. 731-732.

An excerpt characterizing Tolstoy, Fyodor Petrovich

- If anything... you will come back, Yakov Alpatych; For Christ’s sake, have pity on us,” his wife shouted to him, hinting at rumors about war and the enemy.
“Women, women, women’s gatherings,” Alpatych said to himself and drove off, looking around at the fields, some with yellowed rye, some with thick, still green oats, some still black, which were just beginning to double. Alpatych rode along, admiring the rare spring harvest this year, looking closely at the strips of rye crops on which people were beginning to reap in some places, and made his economic considerations about sowing and harvesting and whether any princely order had been forgotten.
Having fed him twice on the way, by the evening of August 4th Alpatych arrived in the city.
On the way, Alpatych met and overtook convoys and troops. Approaching Smolensk, he heard distant shots, but these sounds did not strike him. What struck him most was that, approaching Smolensk, he saw a beautiful field of oats, which some soldiers were mowing, apparently for food, and in which they were camping; This circumstance struck Alpatych, but he soon forgot it, thinking about his business.
All the interests of Alpatych’s life for more than thirty years were limited by the will of the prince alone, and he never left this circle. Everything that did not concern the execution of the prince’s orders not only did not interest him, but did not exist for Alpatych.
Alpatych, having arrived in Smolensk on the evening of August 4th, stopped across the Dnieper, in the Gachensky suburb, at an inn, with the janitor Ferapontov, with whom he had been in the habit of staying for thirty years. Ferapontov twelve years ago, with the light hand of Alpatych, having bought a grove from the prince, began trading and now had a house, an inn and a flour shop in the province. Ferapontov was a fat, black, red man of forty years old, with thick lips, a thick bumpy nose, the same bumps over his black, frowning eyebrows and a thick belly.
Ferapontov, in a waistcoat and a cotton shirt, stood at a bench overlooking the street. Seeing Alpatych, he approached him.
- Welcome, Yakov Alpatych. The people are from the city, and you are going to the city,” said the owner.
- So, from the city? - said Alpatych.
“And I say, people are stupid.” Everyone is afraid of the Frenchman.
- Women's talk, women's talk! - said Alpatych.
- That’s how I judge, Yakov Alpatych. I say there is an order that they won’t let him in, which means it’s true. And the men are asking for three rubles per cart - there is no cross on them!
Yakov Alpatych listened inattentively. He demanded a samovar and hay for the horses and, having drunk tea, went to bed.
All night long, troops moved past the inn on the street. The next day Alpatych put on a camisole, which he wore only in the city, and went about his business. The morning was sunny, and from eight o'clock it was already hot. An expensive day for harvesting grain, as Alpatych thought. Shots were heard outside the city from early morning.
From eight o'clock the rifle shots were joined by cannon fire. There were a lot of people on the streets, hurrying somewhere, a lot of soldiers, but just as always, cab drivers were driving, merchants were standing at the shops and services were going on in the churches. Alpatych went to the shops, to public places, to the post office and to the governor. In public places, in shops, at the post office, everyone was talking about the army, about the enemy who had already attacked the city; everyone asked each other what to do, and everyone tried to calm each other down.
At the governor's house, Alpatych found a large number of people, Cossacks and a road carriage that belonged to the governor. On the porch, Yakov Alpatych met two noblemen, one of whom he knew. A nobleman he knew, a former police officer, spoke with fervor.
“It’s not a joke,” he said. - Okay, who is alone? One head and poor - so alone, otherwise there are thirteen people in the family, and all the property... They brought everyone to disappear, what kind of authorities are they after that?.. Eh, I would have outweighed the robbers...
“Yes, well, it will be,” said another.
- What do I care, let him hear! Well, we are not dogs,” said the former police officer and, looking back, he saw Alpatych.
- And, Yakov Alpatych, why are you there?
“By order of his Excellency, to Mr. Governor,” Alpatych answered, proudly raising his head and putting his hand in his bosom, which he always did when he mentioned the prince... “They deigned to order to inquire about the state of affairs,” he said.
“Well, just find out,” shouted the landowner, “they brought it to me, no cart, no nothing!.. Here she is, do you hear? - he said, pointing to the side where the shots were heard.
- They brought everyone to perish... robbers! - he said again and walked off the porch.
Alpatych shook his head and went up the stairs. In the reception room there were merchants, women, and officials, silently exchanging glances among themselves. The office door opened, everyone stood up and moved forward. An official ran out of the door, talked something with the merchant, called behind him a fat official with a cross on his neck and disappeared again through the door, apparently avoiding all the looks and questions addressed to him. Alpatych moved forward and the next time the official exited, putting his hand in his buttoned coat, he turned to the official, handing him two letters.
“To Mr. Baron Asch from General Chief Prince Bolkonsky,” he proclaimed so solemnly and significantly that the official turned to him and took his letter. A few minutes later the governor received Alpatych and hastily told him:
- Report to the prince and princess that I didn’t know anything: I acted according to the highest orders - so...
He gave the paper to Alpatych.
- However, since the prince is unwell, my advice to them is to go to Moscow. I'm on my way now. Report... - But the governor didn’t finish: a dusty and sweaty officer ran through the door and began to say something in French. The governor's face showed horror.
“Go,” he said, nodding his head to Alpatych, and began asking the officer something. Greedy, frightened, helpless glances turned to Alpatych as he left the governor’s office. Unwittingly now listening to the nearby and increasingly intensifying shots, Alpatych hurried to the inn. The paper that the governor gave to Alpatych was as follows:
“I assure you that the city of Smolensk does not yet face the slightest danger, and it is incredible that it will be threatened by it. I am on one side, and Prince Bagration on the other side, we are going to unite in front of Smolensk, which will take place on the 22nd, and both armies with their combined forces will defend their compatriots in the province entrusted to you, until their efforts remove the enemies of the fatherland from them or until they are exterminated in their brave ranks to the last warrior. You see from this that you have every right to reassure the inhabitants of Smolensk, for whoever is protected by two such brave troops can be confident of their victory.” (Instruction from Barclay de Tolly to the Smolensk civil governor, Baron Asch, 1812.)
People were moving restlessly through the streets.
Carts loaded with household utensils, chairs, and cabinets continually drove out of the gates of houses and drove through the streets. In the neighboring house of Ferapontov there were carts and, saying goodbye, the women howled and said sentences. The mongrel dog was barking and spinning around in front of the stalled horses.
Alpatych, with a more hasty step than he usually walked, entered the yard and went straight under the barn to his horses and cart. The coachman was sleeping; he woke him up, ordered him to lay him to bed and entered the hallway. In the master's room one could hear the crying of a child, the wracking sobs of a woman, and the angry, hoarse cry of Ferapontov. The cook, like a frightened chicken, fluttered in the hallway as soon as Alpatych entered.
- He killed her to death - he beat the owner!.. He beat her like that, she dragged her like that!..
- For what? – asked Alpatych.
- I asked to go. It's a woman's business! Take me away, he says, don’t destroy me and my little children; the people, he says, have all left, what, he says, are we? How he started beating. He hit me like that, he dragged me like that!
Alpatych seemed to nod his head approvingly at these words and, not wanting to know anything more, went to the opposite door - the master's door of the room in which his purchases remained.
“You are a villain, a destroyer,” shouted at that time a thin, pale woman with a child in her arms and a scarf torn from her head, bursting out of the door and running down the stairs to the courtyard. Ferapontov followed her and, seeing Alpatych, straightened his vest and hair, yawned and entered the room behind Alpatych.
- Do you really want to go? – he asked.
Without answering the question and without looking back at the owner, looking through his purchases, Alpatych asked how long the owner was supposed to stay.
- We'll count! Well, did the governor have one? – Ferapontov asked. – What was the solution?
Alpatych replied that the governor did not tell him anything decisive.

- (1783 1873). Russian sculptor, medalist, draftsman and painter. He attended (from 1804) the St. Petersburg Academy of Arts, where he studied with I. P. Prokofiev; taught there (from 1825; vice president in 1828 59, comrade (deputy) president in 1859 68). IN… … Art encyclopedia

Tolstoy Fyodor Petrovich (- Fyodor Petrovich Tolstoy (17831873), count, sculptor, medalist, draftsman and painter. Graduated from the Naval Corps (1802). In 1804 he left military service; began attending classes at the Academy of Arts, an honorary member of the Academy of Arts from 1809, taught there from 1825 (vice... ... Encyclopedic reference book "St. Petersburg"

- (1783 1873), count, sculptor, medalist, draftsman and painter. Graduated from the Naval Corps (1802). In 1804 he left military service; began attending classes at the Academy of Arts, an honorary member of the Academy of Arts from 1809, taught there from 1825 (vice president in 1828 59, ... ... St. Petersburg (encyclopedia)

- (1783 1873), count, medalist, sculptor, painter and graphic artist, vice president (1828 59), comrade of the president (1859 68) of the St. Petersburg Academy of Arts. In his works, imbued with a poetic perception of antiquity, the principles of classicism received a new, close... Encyclopedic Dictionary

- ... Wikipedia

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