Photographs of the interior of Mikhail Afanasyevich Bulgakov’s apartment show that there were several mirrors: one, in a rectangular frame, hung over a round table in the hallway, and another, large floor mirror stood in the dining room that was combined with the living room.

There was a mirror in Mikhail Bulgakov’s very first home in Moscow, in the room of the communal apartment No. 50 at 10 Bolshaya Sadovaya. Like many other Bulgakov things of that time, it has not been preserved.

Mirrors and mirrored surfaces often appear in the writer’s prose. For example, in his first Moscow work, “The Commercial Renaissance”, Bulgakov posits this piece of furniture as a symbol of change in the capital. “It is difficult to understand from what mysterious depths impoverished Moscow managed to extract the goods, but she took them out and with a generous hand drizzled them, displaying them in the mirrored windows and on the shelves,” he writes in the feuilleton.

There are many mirrored surfaces in the apartment on Prechistenka Street. After the operation, a new person begins to appear in them — Polygraph Polygraphovich Sharikov.

In the novella “The Fatal Eggs”, mirrors become the cause of tragic events: Professor Persikov produces his red light using them. An ordinary mirror becomes an important part of the extraordinary events in the story about doppelgangers — “Diaboliad”.

In the “bad apartment”, Azazello comes out of the mirror of the dressing table and stands before Likhodeev. Later, Margarita sits in front of a large mirror in her apartment with a photo of the Master. In the novel, broken mirrors, mirrored cabinets and showcases are all often mentioned.