Russka - Edward Rutherfurd [480]
The second event took place late that summer, when a letter arrived from the Ukraine. It was from Rosa’s childhood friend, Ivan Karpenko, and it contained an unexpected request. He had a son, just two years older than Dimitri – a gifted boy, he said – who wanted to study in Moscow. ‘I wondered if he could stay with you,’ he wrote. ‘He would pay for his keep, of course.’
‘We’ve nowhere to put him,’ Peter complained. But Rosa would not hear of any difficulties. ‘We’ll manage,’ she declared, and wrote at once to Karpenko that he should send his son. ‘He’ll be company for Dimitri,’ she said firmly. But both Dimitri and his father knew what she really meant. She was thinking: He’ll be a protector.
He arrived at the start of September. His name was Mikhail. And from almost the moment he came, Dimitri announced: ‘He is a genius.’
Mikhail Karpenko was a slim, dark, handsome youth with sparkling black eyes, who had just entered puberty; and it was certainly amazing what he knew. Within minutes of his arrival, they discovered that he was intensely proud of his Ukrainian heritage and his distinguished ancestor, the poet. ‘There’s been a big revival of our Ukrainian culture, you know, just in the last few years,’ he told Rosa. ‘And I’m part of it,’ he added rather grandly. But his interests were far wider than that. He seemed fascinated by everything to do with culture and the arts; and he absorbed new ideas with an astonishing speed. When Dimitri took him to visit his cousin Nadezhda, Karpenko seemed in his element, and quickly found favour there. Even the great man himself was impressed. ‘Why, it’s quite amazing the things you know, my little Cossack,’ he would say with a chuckle; and often he would come and sit with his daughter and Dimitri on one side and Karpenko on the other, his great arms round them, and relate all the latest news from the world of art.
It was an exciting time in the Suvorin family. For that year, in addition to his huge mansion, Vladimir had decided to build himself a new house, about a mile away. ‘A little retreat,’ he told them with a grin, ‘but an unusual one.’
This was an understatement. Only a handful of men in the world would have dared to do what the Russian industrialist now proposed. Which was nothing less than a whole house, constructed entirely in the style of Art Nouveau.
The design he showed Dimitri and Karpenko was astounding. Though the basic structure of the house was a simple, square box with a side entrance, there all conformity ended. Every window, every pillar, every ceiling, was shaped in the swirling curves of the Art Nouveau style. The effect was magical, plant-like. ‘It’s like some fabulous orchid,’ Karpenko remarked, which pleased the industrialist greatly. ‘It will have the latest of everything,’ he explained. ‘Electric lights. Even a telephone.’ Designers from France were coming to supervise the work.
And afterwards Karpenko remarked with awe to Dimitri: ‘Your uncle’s like a Renaissance prince.’
What a joy Karpenko was. The three of them – Dimitri, his cousin Nadezhda and Karpenko – soon became firm friends. The ten-year-old girl, sophisticated though she was, would listen fascinated to the handsome boy, with his flashing eyes and his infectious enthusiasms. This year, he was devoted to the new Russian poets who belonged to the Symbolist school. ‘Music,’ he would cry, ‘music is the supreme art because it reaches into the perfect, mystical world. But with words we can come close.’ And he would quote whole verses of Russia’s brilliant