A rare collection of a real-life Plyushkin was found, whose fate Gogol prophesied in Dead Souls. Accumulation is the only life goal of Plyushkin Sad and its meaning in the poem

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Among all the landlords, the image of Plyushkin is the most unassuming and repulsive. This is perhaps the only one of all the landowners in whose personality one can find at least one small positive quality seems like a feat.

Personality characteristics of Plushkin

The reader gets acquainted with Stepan Plyushkin during his advanced age. Unfortunately, nothing is known about his character in his youth and the reasons for the formation of certain qualities, so readers and researchers have no choice but to take the features of his personality for granted, without particularly going into the details of the formation of his character.

hallmark Plushkin is his extraordinary greed and avarice. This characterization of him concerns not only the peasants, but also the closest relatives and even himself personally.

Plyushkin is a very rich man, but he lives as if he has nothing but what he is wearing.

Dear readers! On our website you can view the table, which is described in Gogol's poem “ Dead Souls”

Such an opinion about Plyushkin is not only Chichikov, who visited this landowner, but also everyone around him. Sobakevich speaks extremely disapprovingly of this landowner and does not even try to hide his irritation and disapproval of his personality: “I don’t even advise you to know the way to this dog! Sobakevich said. “It’s more excusable to go to some obscene place than to him.”

Plyushkin is biased towards officers - he believes that they are all dishonest people who spend all their money at the card table and live on lies and deceit. The older, the more restless and suspicious Plyushkin becomes: he looks for tricks and deceit in everything, which greatly complicates communication with him.

Plyushkin's life is meaningless - he does most of his deeds and actions "because it is necessary", he has no purpose in life, as a result, his life becomes more and more like existence and expectation of death.

Stepan Plyushkin is an extremely inhospitable person, he does not like to communicate with other people, and guests annoy him, even if they come on business. He does not hide such an attitude and directly speaks about this to Chichikov, who has arrived at his estate, as if arguing that he is not happy with his arrival.

Plushkin's appearance

Plushkin has an unusual repulsive appearance. This state of affairs is not connected with his physical data, as, for example, in the case of Sobakevich. His unpleasant appearance has led to the neglect of certain hygiene procedures and a general indifference to his appearance. When Chichikov first saw Plyushkin, he was perplexed for a long time after what he saw, since "he had never seen such a thing." Outwardly, Plyushkin resembled something between a man and a woman. He was very thin, his face had no distinctive features - it was as thin as his body.

We invite readers to familiarize themselves with the poem by Nikolai Vasilyevich Gogol "Dead Souls"

The chin stood out especially on the face - it was very pointed and wrapped up so much that from time to time I had to wipe it, because during the conversation Plyushkin spat on his chin. His eyebrows were set high on his face, and his eyes were unreasonably small, like hunted animals. Plyushkin shaved very rarely - his chin "with the lower part of his cheek looked like a comb made of iron wire, which is used to clean horses in the stable."

Plushkin's clothes also want to be better. First of all, she does not correspond to his gender aspect - it is difficult to determine whether she is male or female by her appearance. The condition of these clothes is simply horrendous - they look like tatters of a uniformly dirty color.

In general, Plyushkin's costume is difficult to divide into elements - it seems like a solid piece of rags: “no means and efforts could have got to the bottom of what his dressing gown was concocted from: the sleeves and upper floors were so greasy and glossy that they looked like yuft*, which goes on boots; behind, instead of two, four floors dangled, from which cotton paper climbed in flakes. He also had something tied around his neck that could not be made out: whether it was a stocking, a garter, or an underbelly, but not a tie.

Family and tragic changes in personal life

The image of Plyushkin is one of those images about whose family and past we know the most (we can only guess about the past of other landowners and their families from hints). Apparently, Plyushkin was never particularly humane and cheerful, but family life unusually transformed this man. Most likely, Plyushkin's wife had a great influence on him and kept him within limits. However, this state of affairs did not last forever - after the death of his wife, the negative qualities of Plyushkin's character began to develop rapidly - and he became absolutely negative personality. After the death of his wife, Plyushkin left three children - a son and two daughters. Youngest daughter dies very young. Plyushkin's relationship with other children did not work out - soon both children leave parental home. Daughter - Alexandra - marries without the blessing of her father, and the son runs away to the army. Plyushkin loses all connection with his son, perhaps he is no longer alive.

Plyushkin periodically communicates with his daughter Alexandra, but it is impossible to call this full-fledged communication - Plyushkin hostilely and inhospitably accepts his daughter and her children, although he forgave her for such an impious act. On the whole, “human feelings, which were not deep in him anyway, grew shallow every minute, and every day something was lost in this worn-out ruin” and he remained in proud loneliness not only in his big house but also in society as a whole.

Plyushkin's estate

Based on such a description of Plyushkin's appearance and character, waiting for a well-equipped estate is an empty business. And in practice, this is proven once again. Plyushkin feels sorry for the material for the repair of buildings and the construction of peasant houses, so all his buildings look like dull ruins.

In general, Plyushkin's estate is vast and large - many serfs live in the village, but their life cannot be called full-fledged. At the time when Plyushkin's farm was flourishing, there were two churches in the village, but at the time of the story, both of them are inactive and are in disrepair.

When Plyushkin's wife was alive, Plyushkin's farm prospered - the peasants worked hard and brought significant income. After the death of his wife, everything stopped - the peasants, out of habit, are engaged in growing different cultures, but they never come true and therefore rot.

Plushkin's house

Plyushkin's house is in the same dismal state as everything else on the landowner's estate. His house used to be bright and beautiful. There used to be frequent guests here, and the house was full of fun, but over time the house became more and more dilapidated and desolated. “This strange castle looked like some kind of decrepit invalid, long, unreasonably long. In some places it was one story, in other places it was two; on the dark roof, which did not reliably protect his old age everywhere, two belvederes * stuck out, one against the other, both already shaky, devoid of the paint that once covered them.

The house has not been renovated for a long time - natural phenomena and time have significantly destroyed its structure and noticeably worsened its general condition.

All the windows in Plyushkin's house are closed and the light penetrates only two windows - the study and the bedroom of Plyushkin himself.

The condition inside the house is not much different from the external appearance - because of the darkness, Chichikov was unable to examine the details in detail, but the overall impression was not rosy - Plyushkin's house resembled an uninhabited house.

Plyushkin's office is in disarray, all things are mixed with garbage. Old things, even if they were faulty and could hardly be repaired, are still not thrown away, but are stored in the corners of the room.

The garden and its meaning in the poem

The only cheerful place in Plyushkin's estate is the garden. Located behind the house, it personifies the greatness and power of nature. Like all things in Plyushkin’s estate, no one takes care of the garden and it gradually fell into disrepair, but it still looks majestic and beautiful: “green clouds and irregular quivering domes lay on the sky horizon connected tops of trees that had grown in freedom. A colossal white birch trunk, devoid of a top broken off by a storm or a thunderstorm, rose from this green thicket and rounded in the air, like a regular marble sparkling column; its oblique pointed break, with which it ended upward instead of a capital, darkened on its snowy whiteness, like a hat or a black bird.

Attitude towards peasants and the state of peasant houses

At Plushkin largest number serfs, in comparison with all other landowners - about a thousand. Plyushkin has an extremely negative attitude towards the peasants, regardless of their attitude and the quality of their work. Plyushkin believes that the serfs constantly rob him and therefore he is very skeptical and picky about all his savings. He so intimidated his peasants that they are afraid to take anything without asking, even if these are things necessary for life: “After all, my people are either a thief or a swindler: they will rob me in such a way that there will be nothing to hang a caftan on.” In Plyushkin's warehouses, most of the food is lost and then simply thrown away: "hay and bread rotted, stacks and stacks turned into clean manure, flour in the cellars turned into stone, it was terrible to touch the cloth, canvas and household materials: they turned into dust", but peasants cannot use even slightly spoiled products.

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During excavations of an ancient building in Pskov, archaeologists discovered the treasure of Fedor Plyushkin (1837-1911), a Russian merchant and major collector Russian Empire. Particularly outstanding in his collection was the numismatic department - 84 boxes of rare coins. There was nothing like this even in the Hermitage at that time! After all, it is no coincidence that part of the collection was bought by Emperor Nicholas II himself. It may seem mystical, but the legendary character Gogol Plyushkin determined the fate of the future collector, who at the time of the publication of the novel was only 5 years old.

Recently, a treasure was found in the center of ancient Pskov. When excavating the foundation of a building demolished in the 1970s, archaeologists found six half-rotten tin cans, a silver goblet and a ladle in the place of the former furnace. They contained carefully packed coins, orders, medals, badges, crosses, folds, jewelry - more than a thousand items in total.

Most of the treasure is coins. Among them there are both penny specimens and rarities, which date back to the 16th - early 20th centuries and represent almost complete history Russian coin.

Also found were the Orders of St. Stanislav and St. Anna, the highest state awards of the Russian Empire.

All found items are of great historical value and will become an adornment of any museum. A century ago, these artifacts were in the private collection of Fedor Plyushkin, the most famous collector of antiquities in the Russian Empire.

Fedor Mikhailovich Plyushkin was a hereditary merchant, and thanks to hard work he was able to get rich. He occupied a prominent place in the city leadership of Pskov, was elected to the city duma, and was a member of the local archaeological society. But most of all, Plyushkin was remembered by his contemporaries as a collector and collector of antiquities.

Plyushkin brought both unique exhibits and obvious rubbish to his house in Pskov. Things lay literally in heaps, and all the walls were hung with paintings by Aivazovsky, Vereshchagin, Shishkin mixed with old Russian icons. Porcelain, weapons, rare books, letters from Gogol, Suvorov and Arakcheev side by side with newspaper clippings, cobblestones, stuffed birds. The collection was replenished for more than 40 years and amounted to about a million items. Plyushkin was especially proud of 84 boxes of coins. Even in the Hermitage, the largest museum in Russia, there were not so many.

Meeting historical items was the pride of Plyushkin, he willingly showed the guests his mansion, where everything was stored. Fyodor Mikhailovich passed away in 1911 and Emperor Nicholas II himself bought his collection. But some items still remained in the family. It was them, hidden in the autumn of 1917, that were found in the foundation of the ruined mansion of a Pskov merchant.

How did the collector Plyushkin get on the pages of the poem "Dead Souls", because the work was published when Fyodor Mikhailovich was still a child? According to a widespread version, Pushkin saw the sign of Plyushkin's father's shop. The poet prompted Gogol a memorable surname, which was useful for a character known for his stinginess and passion for collecting. Everything else is special magic and

The last landowner to whom Chichikov ends up is Plyushkin. Finding himself in front of Plyushkin's house, Chichikov noticed that there had once been a vast farm here, but now all around was desolation and rubbish. The estate lost its life, nothing revived the pictures, as if everything had died out long ago. All objects in the space in which Plyushkin lives have turned into rubbish, covered with mold, dilapidated and are in some kind of incomprehensible, strange disorder. Heaped furniture, a broken chair on the table, a cupboard leaning sideways against the wall, a bureau with fallen mosaics and a bunch of all sorts of unnecessary things on it - such is the collection of things that Chichikov saw.

Time at Plyushkin's estate had long since stopped flowing: Chichikov saw a "clock with a stopped pendulum" to which a spider attached a web: it was somehow strange to hope that a "living creature" lived in this frozen, frozen and extinct world. But it was here, and, having become acquainted with it, Chichikov, in amazement, "involuntarily stepped back." Plyushkin's face and outfit made a depressing impression on Chichikov. Here the author joins the story and tells something that Chichikov could not yet know: not content with the rubbish already piled up in the corner of the room, Plyushkin, it turns out, walked around the village and looked for every thing left that was necessary and unnecessary in the household, which he “in all my life I would not have to ... use ... ". Having abandoned the estate, the peasants, everything that, it would seem, should bring him income with reasonable management, Plyushkin focused on petty hoarding: “In his room, he picked up everything he saw from the floor: sealing wax, a piece of paper, a feather, and all this put it on the bureau or on the window.

"Dead Souls". Plushkin. Artist A.Agin

Plyushkin does not know where his advantage is, and finds it not in the prudent management, which he has abandoned, but in the accumulation of rubbish, in spying on the servants, in the suspicious checking of decanters. He has lost the high meaning of life and does not understand why he lives. The content of existence was the collection of various rubbish. Plyushkin's soul is neglected and "littered". She is close to complete mortification, because nothing excites the old man, except for unnecessary things. Plyushkin almost fell out of time. But the fact of the matter is that "almost", i.e., not completely and not completely. Every image and every detail in Gogol in relation to Plyushkin is symbolic and ambivalent. Plyushkin reminds Manilov. He, too, fell out of time and space. But Manilov never had anything. And above all souls. He was born soulless, without and did not acquire any "enthusiasm". And Plyushkin even now has a passion, albeit a negative one, a stinginess that reaches unconsciousness.

In the past, Plyushkin had everything - he had a soul, he had a family. “But there was a time,” Gogol exclaims with elegiac anguish, “when he was only a thrifty owner! ..” A neighbor came to him to learn from him “housekeeping and wise stinginess.” And Plyushkin's economy prospered, was in motion, the owner himself, "like an industrious spider, ran, troublesome, but quickly, at all ends of his economic web." The image of the troublesome host spider contrasts with the image of the insect that covered Plyushkin's watch with cobwebs.

Gradually it turns out that circumstances are to blame for Plyushkin's transformation into a miser - the death of his wife, the departure of his children and the loneliness that has befallen him. Plyushkin fell into despondency, ceased to draw attention to himself, and only anxiety, suspicion and stinginess developed in him. He drowned out his father's feelings. The light in his house was becoming less and less, the windows were gradually closed, except for two, and even that one was covered with paper. Like windows, the doors of the soul were also closed.

Dead Souls". Plushkin. Artist P. Boklevsky

Not only circumstances were to blame for the transformation of Plyushkin from thrifty host in a petty and extremely stingy old man. “Lonely life,” wrote Gogol, “gave hearty food to stinginess, which, as you know, has a wolf's hunger and the more it devours, the more insatiable it becomes; human feelings, which were already not deep in him, grew shallow every minute, and every day something was lost in this worn-out ruin. Plyushkin's personal guilt is infinitely great: he, indulging in despondency and hardened by fate, his daughter, his son, allowed stinginess to take possession of his soul, set a destructive, negative goal for himself and turn "into some kind of hole in humanity."

Nevertheless, Plyushkin had a past, Plyushkin has a biography. Plyushkin has something to remember - without the past, according to Gogol, there is no future. Gradually, Gogol, in describing the already almost motionless and dead Plyushkin, makes it clear that not everything is lost in this landowner, that a tiny flame is smoldering in him. Chichikov, peering into Plyushkin's face, noticed that "the little eyes had not yet gone out and were running from under high-growing eyebrows ...".

Once, Plyushkin's daughter, Alexandra Stepanovna, brought him an Easter cake for tea, which had already completely dried up. Plyushkin wants to regale them with Chichikov. The detail is very significant and clear. Easter cakes are baked for the feast of Easter, the Resurrection of Christ. Plyushkin's cake turned into a cracker. So Plyushkin's soul became dead, withered, became hard as a stone. Plyushkin keeps a shriveled Easter cake - a symbol of the resurrection of the soul. The scene after the deal for the sale of dead souls also carries a double meaning. Plyushkin is afraid to leave the estate without his supervision in order to certify the bill of sale. Chichikov asks if he has a friend whom he could trust.

Plyushkin recalls that the Chairman of the Chamber is familiar to him - he studied with him: “How, so familiar! I had friends at school." This memory revived the hero for a moment. On his “wooden face, a warm ray suddenly glided, it was not a feeling that was expressed, but some kind of pale reflection of a feeling ...”. Then everything disappeared again, "and Plyushkin's face, following the feeling that instantly slipped over him, became even more insensitive and even more vulgar."

At that hour, when Chichikov left the estate of the old miser, "the shadow and the light were completely mixed up, and it seemed that the objects themselves were mixed up too." But the smoldering fire in Plyushkin's soul can flare up, and the character can transform into a positive and even ideal hero.

Plyushkin's mortification, the most profound and obvious among all the characters, except for Chichikov, is combined not only with negative movements of the soul, but also with similarities of warm friendly and human feelings. The more these movements of the heart, the more bitter Gogol's style and the more annoyance, reproaches and preaching pathos in his expressions. Plyushkin's guilt is immeasurably more significant than other characters, and therefore his condemnation is stricter: “And to what insignificance, pettiness, disgustingness a person could descend! could have changed!

Take it with you on the road, leaving the soft youthful years into a stern, hardening courage, take with you all human movements, do not leave them on the road, you will not raise them later! The more a person is promised and the lower he fell because of his own unworthy passion, the greater the sin he committed and the more severely the writer executes him with an impartial judgment of truth: “The grave is more merciful than it, it will be written on the grave:“ A man is buried here! you cannot read in the cold, insensitive features of human old age.

Thanks to this description, the liveliest of the landowners - Plyushkin - turns into the most punished for sins. In fact, the degree of necrosis of Plyushkin is much less than the degree of necrosis of the rest of the landowners. The measure of his moral guilt, the measure of personal responsibility is immeasurably greater. Gogol's regret, Gogol's indignation at Plyushkin's betrayal of himself, his human qualities are so strong that they create the illusion of almost the final extinction of Plyushkin. In fact, having reached the lowest point of falling, Plyushkin retains the opportunity to be reborn spiritually and morally. The return journey of his transformation was part of Gogol's plan.

Plyushkin Fedor Mikhailovich - collector, collector of Pskov antiquities, merchant of the first guild, hereditary Honorary Citizen of Pskov, member of the city government, representative of one of the largest trading firms of the city, an honorary member of the Pskov Archaeological Society, was a member of the Council of the Church Archaeological Museum, one of the founders of the local guardianship. F.M. Plyushkin became famous for the collection of antiquities he collected on the territory of the Pskov province, numbering more than a million historical exhibits.

Born February 7, 1837 in Valdai Novgorod province in a wealthy merchant family, which conducted large-scale trading in Valdai, Novgorod, Pskov, Derpt, Riga and even in India. However, Plyushkin did not become a rich heir. As a result of a tragic accident, the baroque caravan with expensive goods belonging to the family sank. In 1848, the boy's father died of cholera, who did not have time to give his capable son a decent education. Later, due to the dishonesty of one of the suppliers, his mother went bankrupt, losing her entire fortune. The boy was apprenticed to his uncles - Nikolai and Ivan Plyushkin, his father's brothers, who held trade in Valdai. Plyushkin became an errand boy - he served in the shop, cleaned the yard, ran to the tavern for boiling water. Somewhat later, the grown-up Fyodor was sent by relatives to Moscow to serve the manufacturer Butikov. The Moscow host liked the zeal of the young worker, his diligence and love of reading. Soon Fedor was appointed clerk. Some time later, as a result of intra-family intrigues of the Butikovs, the young man had to part with them and return to his relatives, who by that time had moved to Pskov, where they owned one of the largest stone houses in the city, located at the corner of Sergievskaya and Petropavlovskaya streets. This three-story house contained shops, guest rooms and a theater.

It was in this house that the young Fyodor Mikhailovich on February 7, 1859, on the day of his twenty-second birthday, opened his own trading business - a haberdashery shop. A fire that broke out in the summer of 1867 destroyed the house where Fyodor Plyushkin lived and traded to the ground. In 1870 Plyushkin built his own stone house on the old foundation and settled permanently in Pskov, having gone through all the stages of trading science, from a small retail trader to a large wholesaler.

In addition to trade, Plushkin has always been interested in history. In the early 1870s, he began to build his famous collection. At 33, Plyushkin was accepted as a member of the prestigious provincial archaeological society. Collecting gradually became the main business of his life. His home museum numbered about one million exhibits and included monuments traditional culture many peoples of the world, ancient manuscripts, icons, engravings, lithographs, paintings, decorative applied arts, stamps, coins, medals, orders, Masonic things, etc. Plyushkin collected everything: great and small, relics and trifles. In his museum, along with unique exhibits like the most valuable Masonic collection (some of which belonged to Emperor Paul I) or representing great value manuscripts of the 15th-19th centuries. (some were absent even in state depositories), a brilliant numismatic collection, exceeding the number of the Hermitage collection, as well as rare paintings, quite ordinary things got along: numerous duplicates, stuffed birds, just random objects. Such "omnivorousness" of the collector somewhat reduced general meaning his collections and gave contemporaries a reason to equate his museum with a "junk shop", and qualify the collecting activity of Fyodor Mikhailovich himself as "touching pettiness". Plyushkin himself explained the diversity and the presence of random exhibits in his museum by the forced need to buy everything from sellers, no matter what they offer. As a rule, these proposals included not only masterpieces. Much more often came across ordinary and serial works. Plyushkin took everything, realizing that there might not be a next time. When purchasing exhibits, the collector, unfortunately, did not record what they were, where and when they were used. His huge collection had neither inventories nor the usual list of items. All data about them was stored only in the memory of the collector.

The most beloved Plyushkin collection was numismatics. Its scale is 84 huge boxes! There were several old Russian treasures found in the vicinity of Pskov, the rubles of Tsar Dmitry Ioanovich, the ruble of Emelyan Pugachev, the rubles of Anton Ivanovich, Ioann Antonovich, Emperor Konstantin Pavlovich, Russian banknotes, as well as coins made of porcelain and shells. Approximately in the collection there were 100 thousand copies of coins.

Plyushkin collected a rare collection of books and manuscripts, icons, sculptures, church vestments, etc. He owned an icon of the “torturer” Nastasya Minkina, Arakcheev’s favorite, who was killed by her own serfs. Plyushkin collected many items that relate to Christian cults, sectarianism, and Freemasonry. For example, the collection included Masonic aprons, ribbons, badges, goblets and other accessories of the Masonic ritual.

The ethnographic museum of the merchant is rich and varied, where everything that was related to the way of Russian life in the Pskov province, and a rich collection of silver dishes and silverware are collected. According to eyewitnesses, the collection of Arakcheev's porcelain, crystal belonging to the crowned persons, purses, fans, snuffboxes was very beautiful.

The art collection included 1029 paintings, 700 miniatures. The museum had paintings by famous Russian and foreign authors (Vereshchagin, Venetsianov, Aivazovsky, Shishkin, Poussin); engravings, miniatures, popular prints, collection gemstone, rings, rings.

A lot of space was occupied by ancient weapons. Here were various samples weapons, ranging from stone axes to uniforms, commemorative medals, insignia, manuscripts, Napoleon's banner.

There were 287 manuscripts in the manuscript department: among them one was from the 15th century, 10th - the 16th century, 58 - the 17th century, 130 - the 18th century, 88 - the 19th century. There were letters from Ivan the Terrible, letters from Gogol, commanders Suvorov, Wittgenstein. The department of old-written books and church books had 147 items, one of them - from the 16th century, 29 - from the 17th century, 18 books of the Old Believer press.

From manuscripts and autographs, one can mention the originals of Pushkin, Gogol, Suvorov, from things - porcelain of the Generalissimo, his chandelier and snuffbox, granted by Catherine II, many old-written editions and valuable books with illustrations.

Plyushkin did not like to leave Pskov very much. He formed almost his entire collection within the Pskov province, in all likelihood widely using the services of a correspondent network. A similar method was widespread not only in amateur collecting, but also in the acquisition of the funds of state museums. Plyushkin wrote: "I do not accept responsibility for either the authenticity or the quality of the materials from which they are made, since I believe that these issues are subject to resolution only by specialists." In the early 1900s, the collector began to negotiate with the Russian Museum of Emperor Alexander III to sell his collection. The negotiations were lengthy, they were interrupted by the sudden death of the collector. The heirs of Fyodor Mikhailovich decided to sell their father's collection in order to improve their financial position. According to rumors, they asked for 350 thousand rubles for the entire meeting. Such a high amount was beyond the power of anyone state museum. For determining true value Plyushkin collections, an expert evaluation commission was sent to Pskov, consisting of well-known experts in the field of cultural history, art and museum business (N.N. Wrangel, A.A. Miller, N.M. Mogilyansky, N.V. Pokrovsky, K .F. Oldenburg, K.K. Romanov, N.I. Repnikov, A.A. Spitsyn, V.I. Sreznevsky, N.D. Chechulin). Each of the experts wrote his opinion regarding those sections of the assembly, which he examined. The opinion of the members of the commission was almost unanimous and stated that, despite the presence individual works of undoubted value, this collection as a whole special significance does not have. There was a real threat of selling the Plushkin collection abroad. There were buyers during the lifetime of the owner. In protracted financial affairs regarding the acquisition of the Plushkin collection, the Russian Emperor Nicholas II put an end to it. The October issue of the magazine "Old Years" for 1913 reported: "The Plyushkin collection was acquired by the Sovereign Emperor for 100,000 rubles and will be distributed among museums." At present, the exhibits of the Plushkin Museum are stored in the Hermitage, the Russian ethnographic museum, the Russian Museum, the Russian Ethnographic and Museum of the History of Religion, as well as in the Library Russian Academy Sciences. Part of the collection remained in Pskov and is stored in the Pskov Historical, Artistic and Architectural Museum-Reserve.

Fedor Mikhailovich Plyushkin was buried at the Dmitrievsky cemetery in the city of Pskov.

F.M. Plyushkin with his son among the collection he collected