Lightweight reclining stroller

First letter "f"

Second letter "a"

Third letter "e"

The last beech is the letter "n"

Answer for the clue "Lightweight convertible stroller", 6 letters:
phaeton

Alternative questions in crossword puzzles for the word phaeton

Poem by V. Bryusov

Bird on the state symbols of the Seychelles

Type of carriage

Hypothetical planet that once existed between Mars and Jupiter

Soft top car body

Equestrian analogue of a convertible

Word definitions for phaeton in dictionaries

Encyclopedic Dictionary, 1998 The meaning of the word in the dictionary Encyclopedic Dictionary, 1998
in Greek mythology, the son of the sun god Helios. Driving his father's chariot, Phaeton could not restrain the fire-breathing horses, which, approaching the ground, almost burned it; to prevent a catastrophe, Zeus struck Phaethon with a thunderbolt, and he, blazing, fell ...

Explanatory dictionary of the Russian language. D.N. Ushakov The meaning of the word in the dictionary Explanatory dictionary of the Russian language. D.N. Ushakov
phaeton, m. Light stroller with folding top. Hire cab crew (region). A small well-flying bird of the tropical seas (zool.). (By the name of Phaethon - the son of the sun god Helios in Greek mythology, who asked Helios for permission to drive once ...

Wikipedia The meaning of the word in the Wikipedia dictionary
Phaeton (, "shining", also Phaefont) - in ancient Greek mythology - the son of Helios and Clymene; or the son of Clymenes and the Pleiades Meropes. He asked his father Helios for permission to drive the solar chariot, but his team killed him: the horses of an inept driver ...

Examples of the use of the word phaeton in the literature.

I'm afraid that without the calculations of Agathocles and the slaves of assistants called upon to perform simple work, the creation of new lenses is a matter of a long time, and the equipment I have does not allow me to judge the existence of satellites Phaeton.

BUT Phaeton whose fire steals golden curls, 320 Aims into the abyss and, making a long path through the air, Rushing, just as a star from a transparent sky Falls or, rather, may seem to fall.

At first phaeton Kurdyumov and Golovnya sat down, placing the sack on the carpet at their feet.

But then suddenly your father demanded that they send for him phaeton, although the distance between the houses of Degen and Margulis is no more than a quarter of a mile.

He now walked timidly on the ground, not knowing where he belonged, lived for many days at Federatovna as a household master, which, for some unknown reason, Bostaloeva rejoiced and laughed throughout the entire journey together in the steppe. phaeton, and Umrishchev only kept aloof from her on the narrow seat.

meaning, word definition

CARRIAGE, -and, w. 1. Spring four-wheeled carriage with convertible top. Ride in a wheelchair. 2. A small hand cart for children to ride. Children's room 3. A small trolley for special purposes. Sidecar motorcycle. K. disabled. II decrease. stroller, and II adj. wheelchair, th, th.

Morphology

• Noun, inanimate, feminine

Books

... a carriage was rolling, drawn by a pair of pretty Vyatka horses. Lady Yelena Egorovna Strelkova and her steward Felix Adamovich Rzhevetsky were sitting in the carriage. The manager deftly jumped out of the carriage, approached ...

... oh, not only people, but even houses sometimes have such an appearance) - a carriage was brought. The coachman leveled the reins, and the groom waved a whisk over the pillows and the rug, and then, raising the hem of his sleeveless jacket, brushed ...

... from the N-sky monastery, a carriage drove in, laid in four well-fed, beautiful horses; the hieromonks and novices, who stood in a crowd near the noble half of the living room, were still afar off by the coachman ...

Words that are close in meaning

• WHEELER MAN, -a. m. A disabled person moving in a special wheelchair. II well. wheelchair, s.
• DISABLED, th, th. Relating to disability, to the state of a disabled person. Wheelchair. I. house (shelter for the disabled).
• OPORNIK, -a, m. A person suffering from a disease or defect in the musculoskeletal system. Wheelchair for supporters.
• CREW, -a, m. Light non-cargo spring wagon, sidecar. II adj. crew, oh, th.
• PHAETON, -a, l". 1. Light stroller with convertible top. 2. Type of passenger car with convertible top (special). II prsh. fa-etbny,...
• MOTORCYCLE, -a, m., (obsolete) MOTORCYCLE, -a, m. and (yctap.) MOTORCYCLE, -i, f. Open transport vehicle with two or three wheels,...
• LOWER, -uschu, -ustish; - reduced; owls. 1. someone. Move to a lower position. O. flag. O. curtain. O. hands (also...
• RIDE, -ay, -ayesh; rolled; nesov. 1. someone. The same as rolling (in 1 meaning), but denotes an action that takes place in more than one ...

Wheeled carts already existed in prehistoric times; they are mentioned in the most ancient sources as well-known objects. So, in one of the oldest verses of the Vedas, a comparison is used: "as a wheel rolls behind a horse, so both worlds follow you."

In Asia, wagons have been used for a long time, along with riding and pack animals. The Greeks in the time of Homer used chariots. The details of the design of the ancient wagons remain unknown; only the external form of the two-wheeled war chariots is well depicted in many surviving bas-reliefs and other images.

UNGEWITTER, HUGO (1869-c.1944)
A Noblewoman Alighting her Carriage, signed and dated 1906.

There is no doubt, in view of many places of ancient authors, that wheeled carts have long been used for the transport of goods. So, Homer tells that Navzikaya asked her father for a cart to carry with her friends to the seashore to wash clothes. Carts of this kind were two- and four-wheeled: Pliny attributes their invention to the Phrygians. The wheels of such a "plaustrum" were firmly mounted on axles, which turned with them, like those of our railway cars, in bearings fixed to the body. Such wagons, very clumsy, still exist on the island of Formosa.

TSERETELLI, ZURAB (B. 1934).

The ancient Persians had a properly organized mail chase; royal messengers quickly carried orders in other ancient states, but the properly organized transportation of passengers on horseback is known in more detail only from the time of the Romans. The carriage of this kind was kept by private people (crew; "cisium") was two-wheeled, with a drawbar, like a convertible, but without springs, with a seat suspended on belts. They climbed into it from the side of the horses, and not from behind, as in chariots; images of cysium are already found on Etruscan vases. In such carriages they traveled very quickly: according to Suetonius, the emperor traveled in light "meritoria vehicula" distances up to 150 in. per day.

V.Serov. Odysseus and Nausicaa

We have much more information about the parade carriages of the Romans. Among the ancients, in general, the use of parade chariots was the privilege of high-ranking officials and priests; images of the gods during the processions were also carried in special chariots. Private persons arrogated this right to themselves only in times of decadence, and under the empire they decorated their carriages with all possible luxury. The most ancient type is "arcera", it is mentioned in the laws of twelve tables; it was a four-wheeled open cart; for women it was made on two wheels. Equally ancient are the litters, which were subsequently given such a luxurious device that Caesar saw fit to issue a law restricting this luxury.

An engraving of a post coach in the black and red colors of the Post Office near Newmarket, Suffolk, in 1827. A guard is visible behind.

Somewhat later, the carpentum, a two-wheeled carriage with a semi-cylindrical cover, was invented, and the carruca, the ancestor of modern carriages, a four-wheeled wagon with a covered body elevated above the course on four columns; behind was a seat for two persons, and the driver sat in front, below the gentlemen, or walked beside him. From the Gauls, the Romans borrowed a gibberish with a body woven from willow - "sirpea", and from the inhabitants of the northern coast of Europe - the chariot "essedum", which included the front; it served both peaceful and military purposes.

Salvador Dali - The Phantom Carriage

In the era of the migration of peoples and at the beginning of the Middle Ages, the use of a carriage was considered a sign of effeminacy; horseback rides were made, and the spiritual and women rode donkeys. The chroniclers of this era only very rarely mention carriages. So, Egingard tells that the Merovingian king Chilperic traveled everywhere in the Roman "sarpentum", harnessed by oxen; English Bishop St. Erkenwald in the 7th century traveled and preached in a wheeled cart, as he was old and infirm. Only after the crusades did the fashion for carriages begin to revive, but they are allowed only for solemn occasions, for high-ranking officials, and the townsfolk are forbidden to use them.

"Arrival of the Mail Coach" Boilly Louis-Leopold

The wagon is the most common collective name for various vehicles driven by the muscular power of animals, regardless of the design features, scope and purpose of use.

According to the field of application, the wagons are divided into passenger and cargo (previously there were also military wagons), by the number of wheels - into two-wheeled (single-axle) and four-wheeled (two-axle), as well as without wheels - on skids.

Willem de Zwart (1862-1931) - Carriages Waiting (Unknown Year)

The carrying capacity of the wagon can reach up to 750 kg (for single-axle) and up to two tons (for two-axle).

Modern wagons are often equipped with pneumatic tires, and sometimes also with pneumatic or hydraulic brakes.

PASSENGER CARRIAGES.

Crew types.

Coach- a closed passenger wagon with springs. Initially, the body was hung on belts, then springs began to be used for suspension (from the beginning of the 18th century), and from the beginning of the 19th century, springs began to be used. Most often used for personal use, although from the late Middle Ages in Europe they began to be used, including as public transport. An example is a stagecoach, an omnibus and a chaise. The most common type of stagecoach can be considered a mail coach.

The word "carriage" came to Russia along with German carriages, when, from the middle of the 17th century, they began to be imported en masse by German merchants and became increasingly popular among the Moscow nobility. It is most likely that the word was used earlier along with other words common at that time (for example, “rattle cart”), moreover, the word was used in Ukrainian, Old Slavonic and Polish.

(Borrowed in the middle of the 17th century from the Polish language, where kareta< итал. caretta, суф. производного от carro «воз» (из лат. carrus «повозка на четырех колесах»)). Переход с коня (для мужчин) и колымаги (для женщин) на карету для обоих полов символизировал допетровскую европеизацию русского дворянства.

Dormez- a large carriage for long trips with berths.
DORMEZOM (translated from French as “sleeping room”) was a spacious carriage with sleeping places, designed for long trips. L.N. had such a carriage, inherited from his parents. Tolstoy, as his eldest son recalled, she was carried by six horses. At the top of the road carriages were IMPORTANT, or YOURS - boxes for luggage, and behind the HUMP, which also served to place luggage.

Pannemaker Adolf. “Dust rose up from under the dormez and hid the baby”: Il. to the poem by T.G. Shevchenko "Kobzar" (translated by N.V. Gerbel). Engraving from fig. N.N. Karazin. 19th century

Stagecoach- a large multi-seat passenger or mail cart, widely used in the 19th century.

Military wagons * - are attached to field troops for the transportation of ammunition, spare items and tools necessary to maintain the material part on a campaign and in battle, provisions, fodder, office supplies, money treasury, sick, wounded.
In general terms, they consist of a passage on which the body or box of the wagon is installed; the course is formed from the main frame, made up of several longitudinal beds interconnected by transverse pillows; axles with wheels are attached to the latter.
Military wagons* for transporting essentials follow along with the troops, making up the convoy of the 1st category; these include: 1) charging boxes, single-horse projectile and double cartridge gigs (ammunition), 2) military tool carts * (travel forge, tools in horseshoes), 3) pharmacy gig; 4) infirmary ruler and 5) officer gig.

Elizaveta Petrovna's winter wagon. Moscow, 1730s.

“The winter wagon was made in Moscow by the French master Jean Michel in 1732. Two famous events in the history of the Russian state are connected with this crew. It is known that from 1727 to 1732 the imperial court was constantly located in the Kremlin, and for these short five years Moscow again became, as it were, the capital of Russia. But in 1733, Empress Anna Ioannovna decided to return the court to St. Petersburg, and, probably, it was for this historic move that the winter wagon was made. However, on the walls and doors of the wagon, the monogram of another empress, Elizabeth Petrovna, is depicted. He recalls that in this carriage in 1742 the daughter of Peter I arrived in Moscow for the coronation.
The journey took only three days. The wagon, or as it was called the "winter line", freely accommodated ten people and was heated along the way by silver braziers with coal.
The windows and doors of the wagon are closed with narrow plates of glass. The walls are decorated with ornamental painting with attributes of state power. The runners are decorated with large figures of marine animals. In the form of the carriage, although to a small extent, one can trace the inherent love for the picturesque silhouette of the Baroque.

Winter wagon (model) Height - 185 mm., Length - 450 mm.

Summer "funny" carriage

A miniature summer carriage, made in Moscow in 1690-1692, with a delicate gold pattern on a pale blue background, looks like an elegant toy. "Funny" was called the carriages, which were intended for entertainment. According to the Inventory of the Royal Stable Treasury, the carriage belonged to the two-year-old Tsarevich Alexei, the son of Peter I. Despite its belonging to toys, the carriage was made according to all the rules and with all the subtleties of a complex technical solution. She has a device for turning - "swan neck" - and a turntable. The “amusing” carriage is in no way inferior to real carriages in terms of sophistication of form and subtlety of decor, which emphasizes the high social status of its little owner.

Carriage type "BERLINE"

The elegant four-seater "Berlina" was used for important ceremonial trips of Catherine II. It was made by the famous St. Petersburg master of German origin Johann Konrad Bukendal in 1769 and equipped with the latest structural and technical details for that time - vertical and horizontal leaf springs. Carved gilded decor adorns the cornice, descents and architraves. The windows and the upper half of the doors are covered with mirror glass. On the front and back of the camp and on the wheels, the gilded carving almost completely hides the structural details. It is no coincidence that this carriage was used for parade trips of the empress and the court.

Kolymaga

Kolymaga is a type of carriages that has been widespread in Russia and Western Europe since the 16th century, with an almost quadrangular body on a high axle. This four-seater rattletrap was made by craftsmen in the 1640s, which was reflected both in the form and in the decoration. The national originality was especially brightly reflected in the decor of the rattletrap. The body of a strict silhouette is covered with crimson velvet and decorated with a pattern of squares that fills the entire surface, lined with gilded copper studs with convex caps. In the center of each square, an ornament in the form of an eight-pointed star made of silver galloon, characteristic only for Russian crews of that time, is in the center. The combination of crimson velvet with silver and gold creates an amazingly harmonious and festive appearance of the carriage, which is complemented by mica windows decorated with openwork overlays in the form of stars and double-headed eagles.

The interior decoration is not inferior in its luxury to the exterior - the upholstery of the walls and seats is made of expensive Turkish golden velvet, which was loved in Russia for the extraordinary splendor of the pattern. The first owner of the crew was the Bryansk headman, a citizen of the Russian state, Francis Lesnovolsky. In all likelihood, he received it as an award "according to the personal decree of the Great Sovereign." Another owner of the rattletrap was the boyar Nikita Ivanovich Romanov, who played a significant role in the court of Tsar Mikhail Fedorovich.

Winter "funny" wagon

The Winter Amusing Carriage is a unique carriage created in Moscow in 1689-1692, the likes of which are not found in any museum in the world. The wagon is a "room" with small windows and rather wide doors on skids for ease of movement in the snow. The “amusing” carriage served for the games and amusements of the young children of Tsar Ivan Alekseevich, brother and co-ruler of Peter I. The shape of the body retains the ancient traditional form - a strict and clear silhouette and rectangular outlines. However, it is decorated very picturesquely in accordance with the Baroque style fashionable at that time. Leather upholstery was made by the masters of the Moscow Kremlin. An embossed gilded relief pattern of flowers and fruits covers the entire surface of the walls and doors. The elegant carriage was perfect for the winter fun of the royal children and at the same time corresponded to the high status of the owners, which was emphasized by the sophistication of expensive decoration and high craftsmanship.

Armouries

The collection of carriages of the Armory is a pearl among museum collections.

The collection of carriages stored in the Armory has no analogues in other collections, it allows you to trace the development of the carriage business in Russia and Western Europe. The value of the collection lies in the fact that the carriages have not undergone serious alterations, the ownership of the carriages and the names of their creators are known - I.K. By the carriages of the Armory collection one can judge the changes in the form, construction and decoration of the carriages during the 16th - 18th centuries.

The collection of carriages of the Armory is a pearl among museum collections. It has seventeen crews, created in the period from the 16th to the 18th century by the best masters of Russia and Western Europe. The carriages were practically not altered. They represent such a significant branch of artistic craft as carriage business, without studying which it is impossible to comprehend the artistic culture of Russia and Europe in the 16th, 17th and 18th centuries. The crews of those times are not just an elite mode of transport. For the most part, these are also monuments of art, which organically combine wood carving, painting, casting, artistic leather processing, jewelry craftsmanship and even architecture.

Summer stroller
A summer stroller in the shape of an Italian gondola was made in England in the 70s of the 18th century. It was presented by Count G. Orlov to Empress Catherine II. The stroller does not have doors, they are replaced by a folding front part of the box. Gilded carved oak and laurel branches and garlands of flowers frame the sidecar box.
The front of the carriage is decorated with carved figurines of eagles with outstretched wings. Behind - the figures of horsemen in helmets and chain mail, already created by Russian masters, with spears in their hands. The carving, covered with thick gilding, gives the impression of metal casting. On the walls of the carriage there are images of ancient gods. On the sides - Amphitrite and Fortuna, on the back wall - Apollo among the muses. This carriage can be attributed to the best works of world carriage art.

Kolymaga
Late 16th century English carriage - a gift from King James I of England to Boris Godunov in 1603. The most ancient crew of our collection. The carriage is still simple in form, its design and technical device are imperfect, it does not have a turntable. To deploy the carriage, a fairly large area was required, and with a sharp turn, the rear wheels had to be brought in by hand. The carriage has no place for the coachman, the horses were led by the bridle or the coachman sat astride the first leading horse. This type of carriage - open, without springs, without a turntable - in Russia was called a rattletrap. The carriage is interesting for its decoration - high-relief woodcarving depicting scenes of the struggle between Christians and Muslims and hunting scenes.

berlin carriage
The most perfect carriage in the collection is a four-seater parade carriage.
Made in St. Petersburg by master Johann Konrad Bukendal in 1769 for Catherine II.
The carriage has both vertical and horizontal springs.

Coach
The carriage is closed, double, coupe type. The body is suspended on long belts. The crew was made by the craftsmen of Vienna by order of the Russian court in 1740. Carved decor occupies the main place in the artistic decoration of the crew. The carving is tinted, covered with gilding. The walls and doors of the body are decorated with paintings in golden-green tones on mythological subjects.

Coach
The carriage is closed, double, coupe type. The body is suspended on long belts. Made by the masters of Vienna in 1741 - 1742.
The artistic solution and technical data are typical for the parade carriages of the 1740s.
The carriage is covered with thick, gilded Rococo carvings with allegorical and mythological subjects.
It was ordered specifically for the coronation ceremony of Empress Elizabeth Petrovna.

Coach
Magnificently executed in 1746 by the Berlin master Johann Michael Goppengaupt. The carriage gives the impression of lightness, grace thanks to skillful woodcarving depicting bay leaves, curls, shells, sculptures of mythological deities. In the form of a body, the decor features of the rococo style are pronounced. Its body is suspended on six belts, has springs and a turntable. The carriage was presented by Frederick II to Empress Elizabeth Petrovna. It was used during coronation celebrations throughout the 18th and 19th centuries, so the crew was updated many times

Carriage type "coupé"
The carriage of the "coupé" type was made in St. Petersburg in 1739 for the Empress Anna Ioannovna.
Baroque curls and shells are combined with ancient Russian patterned rosettes and double-headed eagles.
The edges of the walls of the body, curved cornices, frames of windows and doors are decorated with very fine gold carvings.
According to its technical solution, the carriage resembles French-made carriages, but mirror glass has already been inserted into the windows.

Winter wagon "amusing"
The cart is small on skids. There are no such carriages in any museum collection in the world. The body of the wagon retains the ancient traditional form. The walls are upholstered with gilded embossed leather, which is richly covered with a floral ornament, which includes images of putti, exotic birds, eagles, figurines of running animals. Leather, like the wagon itself, was made in Moscow in the workshops of the Kremlin. For the decorative decoration of the wagon, in Russian traditions, copper carnations with large caps were used. Mica is fixed in the windows in tin bindings. The wagon served for games and amusements of young children of Tsar Ivan Alekseevich, half-brother and co-ruler of Peter I.

Summer wagon "funny"
It has an elegant baroque form. The walls are upholstered with embossed blue leather, which is richly covered with a gilded floral ornament, which includes images of putti, exotic birds, eagles, figurines of running animals. Leather, like the wagon itself, was made in Moscow in the workshops of the Kremlin. The technical device of the carriage is quite perfect for that time. It has a device for turning a curved beam "swan neck" over the turntable. For the decorative decoration of the cart, copper studs with large caps were used. They fixed the skin on the body and trimmed the bindings of the frames. There is mica in the windows in tin bindings. The cart belonged to the son of Peter I - Alexei Petrovich.

garden stroller
Open garden double carriage of Empress Anna Ioannovna. The documents of the archive of the Armory contain information that the carriage was made for the Empress Anna Ioannovna in Moscow. The decoration, modest enough for the imperial carriages, the shape of the wheels with wide rims, covered with iron, is explained by the fact that it was used for walking in the palace parks. The shape of the body and its painting are exquisite. On the walls of the body of the carriage there are images: the state emblem, the monogram of Empress Anna Ioannovna and a female figure, in the face and figure of which one can guess a portrait resemblance to the empress.

Crew types

The most convenient, expensive and comfortable carriage was the CARRIAGE, which was distinguished by a completely closed body, with mandatory springs. The coachman was located on the front end - GOATS, being exposed, unlike riders, to all the effects of bad weather. There might not have been a goat in simpler carriages, and then the driver simply sat on the high edge that bordered the wagon, which was called the RADIATION. Inside, the carriage had soft seats - from two to six, windows on the sides and front - for communicating with the coachman. Behind the body, on the PYATKA, that is, a special step, during especially solemn departures, there were one or two EXIT LACKIES - HAYDUKS. Doors served to enter the carriage, a step led to them - a footboard, which, after landing, was thrown inside the carriage and folded back by a guide after stopping. Often the steps were thrown up and thrown back with a roar, so, in any case, it is said in L. Tolstoy's "Two Hussars". Lanterns burned on the sides of the carriage in the dark.
Carriages were most often laid in threes or fours, light carriages in pairs. At receptions and balls it was supposed to go in a carriage; if they didn’t have their own, they hired a pit. So, Eugene Onegin galloped to the ball " headlong in a pit carriage". The aristocratic characters of Anna Karenina drive around in their own carriages; however, having left her husband, Anna Karenina goes to her son Seryozha, hiring a "cab".
The downtrodden official Makar Devushkin (“Poor People” by Dostoevsky) conveys his impressions of the carriages in this way: princesses and countesses.
DORMEZOM (translated from French as “sleeping room”) was a spacious carriage with sleeping places, designed for long trips. L.N. had such a carriage, inherited from his parents. Tolstoy, as his eldest son recalled, she was carried by six horses. At the top of the road carriages were IMPORTANT, or YOURS - boxes for luggage, and behind the HUMP, which also served to place luggage.
Simpler and lighter carriages were CARRIAGES. Unlike carriages, their body was open, but with a convertible top. Carriages were usually harnessed by two or three horses, but very rich people, like Troekurov in Dubrovsky, Andrei Bolkonsky in War and Peace, or the governor's daughter in Dead Souls, rode in a carriage with six.
Gogol's story "The Carriage" is known, in which the guests discover the owner who has hidden from them in his new carriage. In Chekhov's story "Enemies", the difference between a carriage and a carriage serves as an important characteristic of the social and moral differences of the characters. A rich landowner calls in for a doctor in a carriage. When it turns out that the call was false and unnecessary, the doctor, whose son has just died, expresses his indignation to the landowner, after which he orders the lackey: “Go, tell this gentleman to be given a carriage, and for me they were to lay the carriage». The carriage emphasized the material superiority of the landowner over the doctor.
Varieties of smart city strollers with opening tops were FAETON and LANDO.
The TARANTASS served as a road carriage, so its strength was considered a more important quality than beauty. Its body was fastened on long - up to three fathoms - longitudinal bars, the so-called DROGAH, which replaced the springs, absorbing shocks and softening the shaking. In Siberia, tarantasses were called DOLGUSHs because of their length.
Here is how the writer V.A. Sollogub in the story “Tarantas”: “Imagine two long poles, two parallel clubs, immeasurable and endless; in the midst of them, as if an inadvertently thrown huge basket, rounded on the sides ... Wheels are attached to the ends of the clubs, and all this strange creature seems from a distance to be some kind of wild creation of a fantasy world.
Landowners like Kirsanov, Lavretsky and Rudin at Turgenev, the Golovlevs at Saltykov-Shchedrin, Levin at L. Tolstoy, etc. willingly used tarantasses. It was the tarantass that was most often used when riding "for long", they rode in it lying down. Later, the tarantass acquired springs.
The britzka was much lighter than the bulky tarantass, but it also withstood long trips - this can be judged by the britzka in which Chichikov traveled around Russia. Like the tarantass, the britzka had a reclining top, sometimes wicker, sometimes leather - BUDKA. In the Chichikovskaya britzka, the top of the body, that is, a kind of tent over the rider, was “drawn from the rain with leather curtains with two round windows, defined for viewing road views”. On the box next to the coachman Selifan sat the footman Petrushka. This chaise was "quite beautiful, spring".
The antediluvian springless chaises did not disappear for a long time - the boy Yegorushka rides in such a boy in Chekhov's "Steppe".
Gorky's Klim Samgin rides in a mail cart drawn by a pair of rough, red-haired horses.
In our time, a simple one-horse light wagon is called a britzka.
Drozhki got their name from the droges described above - long bars connecting both axles. Initially, it was a very primitive wagon: you had to sit on top or sideways on a board laid on top. This kind of droshki was sometimes called SHAKERS. Later, the droshky improved, gained springs and a body. Such droshki sometimes received the name CARRIAGES, by similarity. But neither the old nor the more advanced droshky for driving particularly long distances were used. It was predominantly a city crew. The mayor in the "Inspector" goes to the hotel on a droshky, Bobchinsky is ready to run after him like a cockerel, curious to look at the auditor. In the next act, the mayor rides in a droshky with Khlestakov, and there is not enough space for Dobchinsky ... Gogol's old-world landowners had a droshky with a huge leather apron, from which the air was filled with strange sounds.
Very often in Russian literature there are RUNNERS, or RUNNERS for short, - double, harnessed to one horse. Such droshkys were used by landlords or their managers to go around the estate, travel to the nearest neighbors, etc., in a word, they replaced the bicycle that had not yet appeared at that time. One of the riders was driving the horse: for example, in Dubrovsky, Troekurov drives the droshky himself. Lasunskaya at Turgenev’s is dissatisfied with Rudin because he rides on a racing droshky, on his invariable trotter, “like a clerk”.
The city cabbies were called FLYING and soon shortened their name to the word "FLIGHT". Such a light double carriage with springs and a lifting top could be seen in the cities of the USSR as early as the 1940s. The expression "to ride in a cab" meant "to ride in a cab", in the winter - on a cab sled of a similar design.
City cabbies were divided into VANEK, RAVING, and something in between - LIVING. Vanka was a half-impoverished peasant who came to the city to work, usually in winter, in the words of Nekrasov, on a " tattered and starved nag" and with a corresponding wagon and harness. The scorcher, on the contrary, had a good, frisky horse and a smart carriage.
Spring spans appeared only in the 1840s. Before that, cabbies had CALIBER DROSHKI, or simply CALIBER. On such paths, men rode, women sat sideways, since it was a simple board laid on both axles, with four primitive round springs. A single caliber was called a GUITAR - by the similarity of the shape of the seat. Cab drivers were waiting for riders at the EXCHANGE - specially allocated paid parking lots. Describing the St. Petersburg morning in “Eugene Onegin”, Pushkin does not miss the following detail: “... A cab is pulling to the stock exchange...”
KIBITKA is a very broad concept. This was the name of almost any semi-covered, that is, with a hole in the front, summer or winter wagon. Actually, a wagon was called portable housing among nomadic peoples, then - the top of the carriage, made of fabric, matting, bast or leather, stretched over arcs of rods. Grinev in The Captain's Daughter left home in a road wagon. In the same story, Pugachev rides in a wagon drawn by a troika.
The hero of the famous book by Radishchev travels in a wagon from St. Petersburg to Moscow. An interesting detail: in the wagon of those times, they rode lying down, there was no seat. Radishchev sometimes calls the kibitka a wagon, Gogol sometimes calls Chichikov's britzka a kibitka, since it had a canopy.
“... Exploding fluffy reins, / A daring wagon flies ...” - memorable lines from “Eugene Onegin”, a description of the beginning of winter with the first trip. In the picture of the Larins moving to Moscow, “they load the wagons with a mountain” - these primitive wagons served for luggage.
A LINE was originally called a simple long droshky with a board for sitting sideways or on top, and if the board was wide enough - on both sides with their backs to each other. The same one-horse carriage is called in Saltykov's - Shchedrin's "Poshekhonskaya antiquity" DOLGUSHE - SHAKER, and in L. Tolstoy's "Anna Karenina" - ROLLERS, Levin's guests go hunting on it.
Later, the line became known as an urban or suburban multi-seat crew with benches on both sides, passengers separated by a partition sat sideways in the direction of travel, with their backs to each other. Flight city lines were supplied with a canopy from the rain.
Old bulky carriages were called KOLYMAGAS or RIDVANs. In Krylov's fable "The Fly and the Travelers" we read: "With luggage and with a family of nobles, / Four sobs / Dragged along." Further, the same carriage is referred to as a rattletrap. But in Russian literature of the 19th century, as in our days, both words are used figuratively, jokingly.
An interesting phenomenon is observed in the history of material culture: the objects used by man become smaller and lighter over time. Take a look at the old dishes, furniture, clothes in the museum and compare them with modern ones! The same thing happened with the crews. However, in the old days there were light carts. These include the following.
CONVERTIBLE - a single-horse, less often double-horse spring carriage, two-wheeled, without a goat, with a high seat. One of the riders ruled them. Konstantin Levin in Anna Karenina drives his brother in a cabriolet, driving himself.
The Russian SHARABAN was of the same design. The heroes of Chekhov's "Drama on the Hunt" travel in chaises in pairs or alone. In Ostrovsky's play "The Savage Woman", Malkov promises Marya Petrovna: "I will deliver you such a bityuk - extremely rare. In a chaise, you yourself will rule, it’s nice - expensive. Women's self-driving is becoming a fashion. The heroine of Chekhov's story "Ariadne" traveled on horseback or in a chaise.
Double, two-wheeled convertible was sometimes called TARATAYKA. In the preface to “Evenings on a Farm near Dikanka,” the author recalls a certain Foma Grigorievich, who, coming from Dikanka, “did visit the pit with his new rattay and his bay mare, despite the fact that he ruled and that, beyond his eyes , put on at times still purchased ", that is, glasses.
Finally, a light carriage for one rider with a coachman in front bore the characteristic name EGOIST. In “Little Things in Life” by Saltykov - Shchedrin, Seryozha Rostokin “at two o’clock he got into his own egoist and went to have breakfast at Duso”.
How did you get around in winter?
The oldest sleigh carriage with a closed body was called VOOK. He provided the rider with all the comforts, except perhaps for heating: a soft seat, warm blankets, light through the windows. In Nekrasov's poem "Russian Women" it is not without reason that such a carriage is said: " Calm, durable and light / Wonderfully well-coordinated wagon".
They also rode in an open sleigh ROZVALNYA, or POSHEVNYAH, a wide wagon on runners, expanding from front to back, without much seating. They are well known to us, if only because the noblewoman Morozova sits in them in the famous painting by Surikov. Turgenev’s story “Old Portraits” tells how “just before Epiphany, the master went with Ivan (the coachman) to the city on his troika with bells, in carpets” and what came of it.
Later, the sledge crews had undercuts - iron strips nailed to the lower plane of the runners.
They didn’t go on DROVNYA, although they “renewed the path”: they were peasant cargo sleighs.
On the name day of Tatyana Larina, in January
... Neighbors gathered in wagons,
In wagons, in carts and in sledges.

Everything is clear, except how it was possible to drive on a snowy road on a wheeled cart.
It should not be thought that in winter wheeled carriages, especially covered ones, stood idle. It is not known what happened to the famous Chichikovskaya chaise, but in the second, unfinished volume of the poem, the hero already has a carriage. The coachman Selifan reports to the owner: “The road must have been established: there has been enough snow. It's time, really, to get out of the city", To which Chichikov orders: "Go to the coachman to put the stroller on the skids".
Such transformations of a summer, wheeled, crew into a winter, sledge, were quite common. There is no doubt that the chaises of those who had gathered for Tatyana's name day were put on skids. In Dostoevsky's Uncle's Dream, the prince's huge road carriage fell onto the road: "... the six of us finally raise the carriage, put it on its feet, which it does not really have, because it is on skids". In the same story, Maria Alexandrovna "rolled along the Mordasov streets in her carriage on skids".
However, in large cities, where the snow was partially cleared from the pavement, partially compacted, it was possible to ride in wheeled carriages in winter. “Having fallen into a line of carriages, slowly squealing with wheels in the snow, the Rostovs’ carriage drove up to the theater,” This is how the Rostovs’ winter trip to the opera (“War and Peace” by Tolstoy) is described. In the "Queen of Spades" in St. Petersburg in the winter, carriages are obviously on wheels, and not on skids. At the beginning of L. Tolstoy's story "The Cossacks" there is a phrase: " Rarely, rarely where is the squeal of wheels along the winter street".

What is incomprehensible among the classics, or Encyclopedia of Russian life of the XIX century. Yu. A. Fedosyuk. 1989