Russian types of the central provinces of Russia — engraving

Russian types of the central provinces of the Russian Empire.

Technique, Material: Woodcut / Paper
Artist:,  Engraver: 
Date, Publisher: 1880.
Size: sheet 27x17, image  21x14 cm.

1. Woman of Moscow., 2. Girl of Moscow., 3. Girl of Pskov., 4. Woman of Pskov., 5,6. Men of Novgorod., 7,8. Girls of Pskov., 9. Woman of Tver., 10. Woman of Torjok., 11. Woman of Kalouga.., 12, 13. Gentlemen of Moscow., 14, 15. Women of Smolensk., 16. Woman of Trogobouge., 17. Girl of Trogobouge., 18. Girl of Viazma., 19. Woman of Orel., 20. Girl of Orel., 21. Young Man of Orel., 22. Woman of Riazan., 23. Girl of Riazan., 24. Girl of Saratov., 25. Woman of Saratov., 26. Man of Kolomnia., 27. Woman of Kolomnia., 28. Girl of Koursk., 29. wife from Kursk, 30. Girl of Lgov., 31. Man of Koursk., 32. Young Man of Saratov., 33. Woman of Saratov., 34. Girl of Saratov., 35. daughter of Tula., 36. wife of Tula, 37. wife of Tula, 38, 39. worker of Tula., 40. daughter of Dankovenriazan., 41. daughter of Ranenburg in Riazzan., 42. daughter of Kosloventambov.,43, 44. man of Kursk., 45. daughter of Lgoven-Kursk.

This remarkable composite plate presents a rich ethnographic gallery of Russian types from the central provinces of the Russian Empire. Such sheets were popular in 19th-century illustrated publications, offering readers a visual encyclopedia of the diverse costumes and headdresses worn by the inhabitants of different Russian cities and regions. The figures are arranged in neat rows, each individually numbered with a caption identifying their place of origin and social status (woman, girl, man, young man, wife, daughter, worker, gentleman).

The plate reflects the 19th-century European fascination with ethnography and the "picturesque" diversity of the Russian Empire. Each figure is depicted in traditional local attire, with particular attention paid to the intricate and varied headdresses — from the kokoshniks of Moscow and Pskov to the more elaborate styles of Torzhok and Ryazan. These costumes were not merely decorative; they were markers of regional identity, marital status, and social standing.