At the walls of Madrid. Sketch of scenery for the opera by A.S. Dargomyzhsky Stone guest Alexander Golovin (1863-1930)

The composition presents a view through three arched openings, framing a cityscape bathed in a cool, nocturnal light. The architectural elements dominate the foreground; these are rendered with a deliberate roughness, suggesting a sketch rather than a finished work. Walls of ochre and pale yellow create a warm backdrop to the deep blue arches, which act as portals into the distant view.
The artist employed a limited palette, primarily relying on blues, yellows, and browns. The application of paint is visible – brushstrokes are energetic and expressive, contributing to an overall sense of immediacy. This technique lends a certain dynamism to what might otherwise be perceived as static architecture.
Beyond the arches, a townscape unfolds under a luminous sky. Buildings appear clustered together, their forms simplified into blocks of color. The light source is positioned centrally within this distant view, creating a focal point that draws the eye and establishes a sense of depth. A cobblestone pavement leads towards the viewer, further emphasizing the perspective.
The work conveys an atmosphere of melancholy and stillness. The cool blue tones evoke a feeling of isolation, while the rough rendering suggests a fleeting moment captured in time. Given its function as a sketch for an opera set, one might interpret this scene as representing a place of confinement or transition – a threshold between worlds, perhaps, or a space where characters are poised on the brink of significant events. The architectural framing could symbolize boundaries and limitations, while the distant city hints at possibilities beyond reach. The overall effect is one of restrained drama, hinting at an underlying narrative tension.