Street in front of Dr. Bartolo’s house. Scenery sketch for G.Rossini’s opera The Barber of Seville Alexander Golovin (1863-1930)

The scene depicts a narrow street, presumably in a southern European town, rendered with a distinct theatrical sensibility. Buildings line both sides, their facades characterized by irregular window placements and projecting balconies. The architecture appears somewhat stylized, lacking precise detail but conveying a sense of cramped urban density. A cobbled pathway leads into the distance, disappearing around a bend, suggesting an enclosed and labyrinthine environment.
The color palette is dominated by cool tones – blues, greens, and grays – which contribute to a slightly melancholic atmosphere. Warm yellows and oranges are strategically employed to highlight certain architectural features and create points of visual interest. A crescent moon hangs in the sky above the buildings, adding a touch of romanticism or perhaps hinting at nocturnal intrigue.
The upper portion of the composition is occupied by an elaborate curtain, patterned with vertical stripes and decorative motifs. This element immediately establishes the work as a stage design – a backdrop intended to create an illusionary space for performance. The curtain’s presence reinforces the artificiality of the scene, reminding the viewer that they are witnessing a constructed environment rather than a realistic depiction of urban life.
The perspective is somewhat flattened, and the buildings appear almost two-dimensional, further emphasizing the theatrical nature of the work. This lack of depth contributes to a sense of confinement and claustrophobia, potentially mirroring the social constraints or hidden tensions within the narrative it serves.
Subtly, the scene conveys an atmosphere of secrecy and anticipation. The winding street suggests concealed pathways and clandestine encounters. The muted color scheme and somewhat somber mood imply underlying anxieties or suppressed emotions. It is a space ripe for intrigue – a perfect setting for comedic misunderstandings and romantic pursuits, as might be expected in a lighthearted operatic context.