trip fontaine wig

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Fontaine Wig by BelleTress | Heat-Friendly Synthetic

Introducing Fontaine - the epitome of timeless elegance and effortless allure. Cascading in luxurious length, Fontaine is a mesmerizing wig designed to captivate with its sleek, straight strands that flow seamlessly like liquid silk. Crafted to perfection, its face-framing layers delicately frame the visage, enhancing your natural beauty and accentuating your features with grace.

Special features:

• Color Shown: Oyster | Ginger Ale Blonde
• Collection: Lux Collection
• Fiber Type: Heat-Friendly Synthetic
• Special Features: 100% Hand Made | Hand-Tied | Ear-To-Ear Lace Front | Full Mono Top
• Cap Size: Average
• Dimensions: Side: 11"-16" | Nape: 11"-12" | Overall: 18"
• Weight: 5.5 oz

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The Virgin Suicides

Jeffrey eugenides, ask litcharts ai: the answer to your questions.

Trip Fontaine Character Timeline in The Virgin Suicides

Trip Fontaine

Character analysis.

Trip Fontaine's the best developed of the male characters in the novel. The narrators know Trip from boyhood as a pudgy, weird-looking kid, but in the year before the suicides, he "had emerged from baby fat to the delight of girls and women alike" (3.32). Trip gets a lot of ink in the novel, because the boys are amazed at how girls throw themselves at him, but more important, because he turns out to be their intro to the Lisbon sisters.

Trip has an exotic history. He becomes the school heartthrob after a trip to Acapulco with his father and his father's boyfriend Donald, where he manages to seduce a 37-year-old woman at a hotel bar. Or rather, she seduces him. He comes back to school as a tall, deep-voiced golden boy who drives the girls crazy:

Before long he lived like a pasha, accepting tribute at the court of his synthetic coverlet: small bills filched from mothers' purses, bags of dope, graduation rings, Rice Krispie treats wrapped in wax paper, vials of amyl nitrate […] (3.35)

Trip starts a thriving drug-dealing business and leaves school three times a day to smoke weed in his car. The boys are fascinated by him. Trip's father ignores the parade of girls to Trip's bedroom. The boys think it's probably because the "iffiness of his own conduct" (3.35), i.e. being gay in the 1970s in a conservative suburb, made him pretty non-judgmental. Trip and his father are more like roommates, floating on air mattresses in the pool, wearing matching peacock robes and towel turbans, getting tanned within an inch of their lives.

The boys admire Trip for never, ever talking about the girls he bedded, unlike most boys who broadcast that stuff to everyone. They figure it's because living with a gay father made him learn to be private about his sex life.

Just saying that they knew Trip Fontaine was enough to make girls grab at the narrators. He was hot:

No boy was ever so cool or aloof. Fontaine gave off the sense of having graduated to the next stage of life, of having his hands thrust into the heart of the real world, whereas the rest of us were still memorizing quotations and grade-grubbing. (3.39)

Trip's cool is blown when he meets Lux. He can't explain it, but he's totally undone the first time he sees her. He's at a loss about what to do—girls always ran after him, so he's not used to having to pursue anyone, especially someone like Lux.

Even the wimpiest boys were more adept than Trip at asking girls out. […] Trip had never even had to dial a girl's phone number. […] He had never felt the pain of lackluster responses, the dread of "Oh… hi," or the quick annihilation of "Who?" His beauty had left him without cunning […]. (3.50)

Trip can't understand why Lux affects him like that. He describes it to the boys in terms of auras and atoms breaking apart; the boys attribute that to his always being high. Anyway, he finally tells Lux he's going to ask her father to take her out. He spends a quiet evening at the Lisbon house not even sitting next to Lux, but after he leaves she follows him to the car and jumps on him:

Even though that lightning attack lasted only three minutes, it left its mark on him. He spoke of it as one might speak of a religious experience, a visitation or vision, any rupture into this life fro beyond that cannot be described in words. "Sometimes I think I dreamed it," he told us […] (3.58)

Lux is grounded after that night, and Trip has to wait until next fall, when he persuades Mr. Lisbon to let the girls go to the Homecoming dance on a group date so he can be with Lux. This is a big breakthrough for the lucky boys who Trip picks to take the other three sisters. Of course, Trip and Lux get named King and Queen of the prom. He and Lux sneak off after the dance and have sex on the football field, but after she starts to cry in the middle of it, he suddenly gets turned off and leaves her there. It's inexplicable.

"I walked home that night. I didn't care how she got home. I just took off." Then, "It's weird. I mean, I liked her. I really liked her. I just got sick of her just then." (3.222)

The boys don't learn about this until years later. They know that Lux missed curfew that night and brought on the imprisonment in their house that doomed the sisters, but they didn't know why she didn't make it home. By the time they get around to interviewing Trip about his relationship with Lux, he's spent years in rehab and looks way the worse for wear. He's got the shakes and his skin is yellow. Listen and learn, Shmoopers: drugs are bad, m'kay?

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W hy's T his F unny?

• Entertainment

Sofia Coppola reveals fate of Josh Hartnett’s wig from The Virgin Suicides

The actor played heart-throb Trip Fontaine.

Sofia Coppola has revealed that she still has the wig worn by Josh Hartnett in her directorial debut The Virgin Suicides, more than 20 years after the film was made.

The Pearl Harbour star played teen heart-throb Trip Fontaine in the 1999 movie about five tragic sisters, complete with a floppy long wig.

Director Coppola reunited with the cast including Hartnett and stars Kirsten Dunst, A.J. Cook, Leslie Hayman, Chelse Swain and Hanna Hall for an Entertainment Weekly video and she said: “I remember when Josh showed up as Trip with the hair, which is in my storage.”

Hartnett said: “I forgot about what a pain in the ass the wig was,” with Coppola replying: “It was probably not the best quality wig. But it worked.”

Coppola also revealed she had not planned to direct the film but when she learned the Jeffrey Eugenides novel was being made into a movie she decided to try to write a script on her own.

She said: “I loved that book, and I heard they were going to make a movie of it, and I hoped that they didn’t mess it up — as that happens sometimes with books that you love.

“I just had an idea of how I thought they should make it into a movie, so I thought I would try to learn how to write a screenplay. I started working on one just as a kind of practice. I thought I would just do a few chapters.”

Dunst also revealed the reservations she felt about the movie before she started filming, saying: “When I read the script, I was a little bit nervous because I was making out with all these guys in the script, and I just was overwhelmed and kind of a young 16-year-old.

“But when I met Sofia, I felt at ease and I knew that this would be something special.”

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Sofia Coppola reveals fate of Josh Hartnett’s wig from The Virgin Suicides

Sofia Coppola has revealed that she still has the wig worn by Josh Hartnett in her directorial debut The Virgin Suicides, more than 20 years after the film was made.

The Pearl Harbour star played teen heart-throb Trip Fontaine in the 1999 movie about five tragic sisters, complete with a floppy long wig.

Director Coppola reunited with the cast including Hartnett and stars Kirsten Dunst, A.J. Cook, Leslie Hayman, Chelse Swain and Hanna Hall for an Entertainment Weekly video and she said: “I remember when Josh showed up as Trip with the hair, which is in my storage.”

Watch Sofia Coppola reunite with the five Lisbon sisters and Trip Fontaine on the 20th anniversary of her dreamy debut film, 'The Virgin Suicides.'​ https://t.co/oCnjOIxbgf — Entertainment Weekly (@EW) June 18, 2020

Hartnett said: “I forgot about what a pain in the ass the wig was,” with Coppola replying: “It was probably not the best quality wig. But it worked.”

Coppola also revealed she had not planned to direct the film but when she learned the Jeffrey Eugenides novel was being made into a movie she decided to try to write a script on her own.

She said: “I loved that book, and I heard they were going to make a movie of it, and I hoped that they didn’t mess it up — as that happens sometimes with books that you love.

“I just had an idea of how I thought they should make it into a movie, so I thought I would try to learn how to write a screenplay. I started working on one just as a kind of practice. I thought I would just do a few chapters.”

Dunst also revealed the reservations she felt about the movie before she started filming, saying: “When I read the script, I was a little bit nervous because I was making out with all these guys in the script, and I just was overwhelmed and kind of a young 16-year-old.

“But when I met Sofia, I felt at ease and I knew that this would be something special.”

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Why Josh Hartnett left Hollywood, and why he’s back: “I decided to have a life”

Crowned ‘the new tom cruise’ in the early 2000s after a run of hit films, he chose to leave fame behind. now guy ritchie is bringing him back into the spotlight for his first mainstream feature in 14 years.

Two decades have passed since Josh Hartnett was crowned Hollywood’s hero: the new Tom Cruise, the new Gary Cooper, the new Leonardo DiCaprio. “I was on the cover of every magazine. I couldn’t really go anywhere. I was alone. I didn’t trust anyone,” he recalled in a 2014 interview . The accolades felt undeserved, and he was then considered ungrateful by the studio publicity machine trying to hype him. “They looked at me as someone who had bitten the hand that fed me,” he has said . “I tried to find smaller films I could be part of and, in the process, I burned my bridges at the studios because I wasn’t participating.”

These days, Josh Hartnett lives a quiet life in Surrey, England, with his wife Tamsin Egerton and their three children. But he is dicing with Hollywood once again after a 14-year break, and at age 42 he will appear alongside Jason Statham in the Guy Ritchie thriller Wrath of Man . Ritchie needed an urgent replacement for an actor on the film, and he knew that Hartnett lived close to the set. Improvising his character on the fly, Hartnett now says it was one of the best experiences of his career.

According to Hartnett, he never really left the movie business, but just adapted to the demands of more pressing issues. “I didn’t really take any major hiatuses that were planned, I just had kids,” he told Yahoo Entertainment recently. “I started doing smaller films, [since] the films didn’t take me away from the kids very often.” Turning his back on Hollywood remains a fascinating subject for many fans, and a telling story of how show business works.

Josh Hartnett decided to become an actor while working in a video store, thanks to films such as Trainspotting , 12 Monkeys and The Usual Suspects . He began studying acting at the State University of New York, but when he wrote a letter to the dean saying that the evaluation system stifled students’ creativity, he was expelled.

When he later landed in Los Angeles, his manager Nancy Kremer was waiting for him at the airport with 80 auditions scheduled over three weeks (normally actors might do four a week). From those sessions he was cast in Halloween H20 , The Faculty and The Virgin Suicides – all stone-cold hits. His role as heartthrob Trip Fontaine in the latter 1999 film cemented his place as a pop-culture icon, with the camera panning from boots to dodgy wig .

The press fawned over him. “Ready for Takeoff” read the cover of People magazine ahead of the release of Pearl Harbor . “The guy will have beautiful women camped out on his front lawn for months,” said his co-star, Ben Affleck. Hartnett was hesitant to star in a blockbuster because he feared big-name directors wouldn’t take him seriously, but his father convinced him. Fame is temporary, he told his son, but regret is permanent.

In June 2001, Vanity Fair published a profile entitled “The Making of Josh Hartnett,” focused on his crossover into megastardom. The article’s thesis was that Hartnett didn’t seek fame because he was a sensitive rebel in love with the Beat poets, but he shone so brightly that stardom was inevitable. “When he went out, every single call, he got a callback on, which is pretty much unheard of,” his manager was quoted as saying. “And on top of that, casting directors were calling other casting directors telling them that they should meet him. That’s a huge buzz you can’t buy in Hollywood. That’s just a gift from the heavens.”

The gushing continued at length. “If all goes according to plan, by the Fourth of July, Josh Hartnett will be a product-moving, culture-bridging heartthrob on the order of Leonardo DiCaprio, or thereabouts,” the piece went on to say. “I kept telling him,” producer Jerry Bruckheimer is quoted as saying, “when this movie comes out, it will change your life.’ He said, ‘I know, I know.’ But he doesn’t really know. He has no idea what he’s in for.... There’ll be girls and people wanting his autograph running after him.”

In the piece, Hartnett recounted how director Michael Bay kept forcing him to smile more. “It was one of those directions that, as an actor, you go, ‘How does that work for me as the character? I can’t just go out there and smile.’ So it was pretty frustrating,” he said. It was perhaps a sign of what was to come. “I never really understood how the movie stars would do their charismatic thing, and they definitely tried to teach me.”

Looking back to that interview in a recent article in The Guardian , Hartnett shuddered. “Oh, that was an awful piece… Was there even a quote from me in it, or was it just everyone talking about how hot I was? People got a chip on their shoulder about me after that. They genuinely thought I’d been thrust on them. It was a very weird time.” Being compared to Tom Cruise and Julia Roberts was “insane,” he added. “It was actually an interesting look at the nature of fame. If only it wasn’t about me.”

Pearl Harbor was the sixth highest-grossing film of 2001, in what would be a success for any film except this one, which also received devastating reviews. So, after four years of working every day, Hartnett returned to Minnesota and spent 18 months without reading a single script. He wanted so badly to reconnect with his old life that he started dating his high school sweetheart again, but instead of moving in with his parents in Saint Paul, he bought a million-euro mansion on Lake of the Isles.

Suddenly, he was prey for the wolves. “Modesty in a good-looking young man can be attractive, but Hartnett needs to develop a screen personality,” wrote David Denby in the New Yorker . “Just a bad-haired actor who got lucky,” snarked Anna Day in The Mirror . By treating him as a commodity, Hollywood speculated on Josh Hartnett until his real value, whatever it was, ceased to matter. His career was perceived as a failure only because he failed to live up to the expectations the industry had placed upon him itself. The 2002 sex comedy 40 Days and 40 Nights would be his first and last leading man movie.

Cracks started to show. When Hartnett was promoting the 2003 action film Hollywood Homicide with Harrison Ford, he didn’t mince his words about his co-star. “We had our pluses and minuses, he tested me and I hated him for a while. He would pick on me for my choices, like ‘That’s not a cop’s hairstyle.’ Other than Brad Pitt in Shadow of the Devil [with whom Ford also argued constantly], I’m the second young guy he’s worked with in his entire career. So when I got into his territory he started nudging. He may be the nicest guy to everyone else, but with me he could sit in the car for an hour without saying a word to me,” he told the media.

That same year, his agent came to him with sensational news: Hartnett would play the new Superman. He turned it down. He had better things to do than spend the next decade tied to a contract, even though the offer was rumored to be $100 million for three movies. He again feared missing out on opportunities to work with prestigious filmmakers. “At the time, it was so obvious to me to turn it down,” he said earlier this year. “I was being offered movies by the very top directors. And Superman was a risk. Yes, there was a lot of money involved, but I didn’t think that was the be-all and end-all.”

It got worse when he became the guy who not only turned down Superman, but Batman as well. This time, he regretted it. “I’ve definitely said no to some of the wrong people,” he said about rejecting the lead role in Christopher Nolan’s Batman Begins . “I said no because I was tired and wanted to spend more time with my friends and family. That’s frowned upon in this industry… I learned my lesson when Christopher Nolan and I talked about Batman. I decided it wasn’t for me. Then he didn’t want to put me in The Prestige . They not only hired their Batman for it, they also hired my girlfriend [Scarlett Johansson] at the time.” Watching Christian Bale take the role and avoid being typecast as a single type of actor made him reflect. “I was so focused on not being pigeonholed and so scared of being considered only one thing as an actor.”

When Brian De Palma’s The Black Dahlia came out in 2006, Hartnett still had enough star power to make magazine covers, but a failed actor narrative was now part and parcel of his public image. He was now “a recovering teen idol” making “a comeback,” according to a GQ article written about his role in the film. “Let’s be honest, Josh Hartnett was foisted upon us… This is how it went with Josh Hartnett. We were just told that he was a star. His ubiquity came so suddenly that by the time we could put a name to his face (the square jaw, the safety-scissors haircut, the vaguely otterish good looks) we were already sick of looking at it.” By then, Hartnett’s production company had closed without developing a single project. He was 28 years old at the time.

And so 10 years passed, between indie films and shorts. In The First Monday of May , the 2015 documentary about the Met Gala, organizer and Vogue editor Anna Wintour is shown looking at a board with various photographs of celebrities. Suddenly she stops at one. “Who is this?” she asks. “Josh Hartnett,” her assistant replies. “And what has he done lately?” continues Wintour. “Nothing,” comes the answer. Wintour rips the photo off the board.

That year, Hartnett returned to the limelight with the series Penny Dreadful , where he aimed to be taken seriously beyond his looks. He fired his manager, made the move to Surrey, and began talking openly about his years at the pinnacle of Hollywood fame. As more years have gone by, he has revealed more and more. “There was a time I was considered quite a commodity in the business and I wanted my character to chew gum in a scene,” he told the men’s style publication Mr Porter . “It was run up so many flagpoles and it was the subject of conversation for days and in the end, they decided just no. They had an idea of what they thought they could sell with me in it, or what the persona is that people wanted to see from me. And it didn’t involve chewing gum.”

One of his biggest regrets was getting into politics at the age of 25. He supported Democrat John Kerry’s failed presidential campaign, showing up at rallies in Iowa without knowing anything about Iowa, and visiting schools in Republican neighborhoods where kids dismantled his arguments.

Hartnett believes that in Hollywood most people leave their old lives behind and “just socialise with people who are in the industry, because they’re gonna hire you for the next job.” He hasn’t forgotten Harrison Ford. “The guys who are on top are terrified that someone’s coming up behind them. If that’s your real ambition, to be on top all the time, you’re going to spend your whole life looking over your shoulder. I never wanted that,” he clarified.

So what is Josh Hartnett’s ambition? “I decided to have a life,” he said. “To put that first. That was always my goal.”

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Fontaine Wig By Belle Tress | Lux Collection | Hand-Tied | Heat Friendly Synthetic

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Fontaine by Belle Tress | The Lux Collection

Color Shown:  Oyster

Specifications:

• Product Type: Wig
• Cap Design: Ear-To-Ear Lace Front | Full Mono Top | 100% Hand-Tied
• Cap Size: Average
• Measurements: Side 11"-16" | Nape 11"-12" | Overall 18"
• Weight: 5.5 oz
• Hair Type/Fiber: Heat Friendly Synthetic
• Heat Friendly: YES
• Collection: Lux Collection
• Item Number: LX-5013

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Color:  Please understand that the actual colors of the wigs can vary due to the device you’re viewing on, lighting, and the fact that everyone sees colors differently. Despite all efforts to provide images, color swatches, etc. that are as true to life as possible, we cannot guarantee that the color you receive will be exactly how you viewed it.

Measurements:  The measurements listed are approximate measurements given to us by the manufacturer.

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The best wig I own to date! Love the color, so dynamic and the rooting is amazing. The length is perfect for updos and half up half down styles. The fibers are so soft I've owned BelleTress Wigs before from the Cafe collection, but these feel different I can explain it. The cap construction is superior. I love the flexibility of styling options and parting. The fibers flow and look like human hair and I like that. I have to say that BelleTress has outdone themselves and is continuing to. I love this collection and I love the realism. I have to be honest I want mostly all of the wigs from the Lux Collection. I will be buying more.....soon. Thank you shirleyswigshoppe for providing such awesome services and wigs.

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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

N early a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but it appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation” .

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

The Virgin Suicides launched Coppola’s career and gave us our first look at this tonal reserve, this capacity for blankness, a subversive take on feminine mystique, and a refusal to satirise or ironise what might be seen as privileged female lives that was later shown to various effect in films including Lost in Translation , Somewhere and The Bling Ring . The Virgin Suicides also launched the adult career of Kirsten Dunst, who had made her name as a child in Interview With the Vampire. She plays the entrancing Lux, and perhaps never again had a role to match this sphinx-like character (although she gave an interestingly cool Marie Antoinette in Coppola’s notably sympathetic 2006 film ). The voiceover narration is by Giovanni Ribisi, and perhaps Coppola was aiming for something like the gravelly assurance and substance of Ray Liotta’s remembering voice in Scorsese’s Goodfellas.

Ribisi’s character is one of the goofy, gawky teen boys who would hang around back in the day, hormonally obsessing about the hauntingly beautiful and sweet Lisbon sisters: Lux (Dunst), Cecilia (Hanna Hall), Therese (Leslie Hayman), Mary (AJ Cook) and Bonnie (Chelse Swain). Their parents are a maths teacher and his religious homemaker wife, played with sympathy and intelligence by James Woods and Kathleen Turner. When 13-year-old Cecilia makes what appears to be a poignant cry-for-help attempt at cutting her own wrists in the bathtub, the sternly conservative parents are persuaded by the psychiatrist supervising her recovery (a cameo from Danny DeVito) that they should allow the surviving sisters to socialise with boys more, under strict supervision of course.

The new liberalness does not prevent further disaster and Lux finds herself dating the school’s hunkiest boy, Trip Fontaine, played by Josh Hartnett, who breaks her heart by keeping her out after curfew and leaving her sleeping in the football field after the Homecoming ball – having incidentally removed that titular virginity. This calamity leads to a clampdown from the mum and dad: all four girls permanently grounded, though with Lux having sexual encounters on the roof and the girls communicating with the mooningly immature boys in various ways – and all of it leads to catastrophe.

But why? What is the cause-and-effect? Did this have to happen? Was it the result of a certain kind of psychological epidemic within people in enclosed isolation? Maybe. Or maybe this is just a kind of dysfunctional cult of young women who collectively decided, to paraphrase Keats, to cease upon the bright midday with no pain. Given that no character here seems to fully express or emote the horror and grief that they must surely be feeling, the film withholds its meaning and leaves the audience in almost the same sunlit suburban dreaminess in which it began. It looks stranger and more enigmatic than ever.

In the UK and Ireland, Samaritans can be contacted on freephone 116 123, or email [email protected] or [email protected] . In the US, you can call or text the National Suicide Prevention Lifeline on 988, chat on 988lifeline.org , or text HOME to 741741 to connect with a crisis counselor. In Australia, the crisis support service Lifeline is 13 11 14. Other international helplines can be found at befrienders.org

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Kirsten Dunst, Josh Hartnett, Virgin Suicides Cast Reunite 20 Years Later: 'Amazing Experience'

The Virgin Suicides hit theaters in 2000 and became a cult hit

It's been 20 years since the Lisbon sisters dazzled the screen in Sofia Coppola's The Virgin Suicides — and the cast still loves the cult classic just as much as the film's many fans.

Although the dreamy drama didn't see blockbuster success when it premiered in 2000, it remains a favorite of teenagers from that era. To celebrate the anniversary, Entertainment Weekly rounded up the sisters — Lux ( Kirsten Dunst ), Mary (A.J. Cook), Therese (Leslie Hayman), Bonnie (Chelse Swain), and Cecilia (Hanna Hall) — for a socially-distanced virtual reunion along with Coppola and Josh Hartnett, who played the heartthrob Trip Fontaine.

While the cast all loved filming the movie once they got to set, Dunst admitted she was a little unsure when she first read the part.

"When I read the script, I was a little bit nervous because I was making out with all these guys in the script, and I just was overwhelmed and kind of a young 16-year-old," Dunst said. "But when I met Sofia, I felt at ease, and I knew that this would be something special."

One of those make-outs is the iconic scene when Lux sneaks out of her house and jumps into Trip's car, sealing the adventure with a kiss. Though it looked romantic in the movie, it was actually complicated to film.

"The lights in the house would go off, and then I'd have to run out," Dunst recalled. "It was such a long-winded thing to get in the car, jump on Josh, his wig would fall off… Then I bit him once, I remember. It was just a mess."

Once on set, the cast say they grew close and still think of the film as one of their favorites.

"The fact that it's been over 20 years is just mind-blowing," Cook said. " Virgin Suicides is that experience that I keep finding myself chasing, you know? It was this amazing experience that was so collective and such a learning experience for me."

"I think it was the beginning of me finding confidence as an adult," said Hartnett. "Everything's changed since then. It's been almost 22 years since we shot it. That's so many lifetimes; it's absolutely insane. It was a transformative experience for me, and I've always said if anyone cares to ask, it's probably my favorite filming experience."

"To be part of a movie that would be my favorite movie during that age…" Dunst added. "You couldn't ask for more."

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Out of the Centre

Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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