Sunday, 30 July 2017
Friday, 28 July 2017
A rare photograph (below) of the imperial guard lined up in front of the courtyard of the Alexander Palace in Tsarskoe Selo is from Sergei Markov’s 1928 book ‘The Tsar’s Family 1917-1918’.
Photographs (below) of Livadia
Photograph (below) of Empress Marie and Grand Duchess Olga
Photographs (below) of Alexei
Photograph (below) of Alexandra’s brother Grand Duke Ernest of Hesse-Darmstadt
Photographs (below) of Alexandra’s sister Princess Irene
Wednesday, 26 July 2017
On the wintry afternoon of February 26th 1898, a two-year old toddled beside her papa from the day-nursery, smiling up at the cupids and ran to the mountain slide. The toddler was Grand Duchess Olga and her papa was Nicholas II.
The children’s rooms on the 1st floor of the Winter Palace were designed in 1839 for Nicholas I’s teenage daughters; seventeen-year old Olga and fourteen-year old Alexandra.
Fifty-five years later the rooms became the nursery for Nicholas II and Alexandra’s daughters.
From the Anteroom (11) you enter the large Gothic Drawing Room (12) where the mountain slide was in 1898 and then the Cupids Drawing Room (13).
3D Panorama (link below) of the Gothic Drawing Room
Photograph (below) of the Gothic Drawing Room looking towards the door to the Anteroom (11)
Thursday, 20 July 2017
After visiting Danzig and Silesia in September 1835, the imperial family went to Teplitz for the Congress of Sovereigns and the dedication of the 1813 Battle of Kulm monument.
Nicholas I wore his hussar uniform and Alexandra wore a cornflower blue dress with a big hat of feathers when they arrived at Prince Clary’s Schloss for the reception of all the sovereigns and their suites.
Eduard Gurk’s painting (below) of the 1835 meeting of Emperor Franz I of Austria and Nicholas I in Teplitz
That evening a dance was held in the Assembly Rooms. Grand Duchess Olga later wrote that she had danced with Archdukes Albrecht and Ferdinand, Prussian cousins and finally Prince Albert of Coburg. He was considered handsome. I found him boring. He wanted to teach me how to waltz but I preferred to dance the gallop with Archduke Albrecht’.
Carl Mayer engraving c1835 (below) of Prince Ernest and Prince Albert of Saxe-Coburg und Gotha
Photograph (below) of Grand Duchess Olga c1840s
Christine Robertson painting c1843 (below) of Grand Duchess Olga
A tantalizing thought of ‘what if’ Albert and Olga had married. It is apparent from her memoirs that Olga considered herself destined as a wife of a crown prince. A marriage with a second son of a small insignificant duchy was unthinkable.
It is curious why the Teplitz trip was never mentioned in Charles Grey’s biography of the young Prince Albert that was largely dictated by Queen Victoria. This small insight into the fun-loving prince during his teen years gives a new interpretation of ‘Albert the Good’.
Teplitz was the first meeting between Nicholas I and Prince Albert. Did they reminisce when they met again in London in 1844?
Tuesday, 18 July 2017
In the 1830s and 1840s, artists from the Imperial Russian and French troupes would arrange stage performances twice a week in the Great Hall of the Catherine Palace in Tsarskoe Selo. A dinner was held after for all the performers.
F. Burdin in his ‘Memories of an Artist to Nicholas 1st ’ wrote of an incident that happened during one of the dinners in the Amber Room. Two of the actors, Goduonov and Becker, had drunk too much and started quarrelling. It reached a point where Godunov threw a bottle of wine at Becker. It missed him, hitting the wall and splintering pieces of amber. All were terribly frightened.
The Minister of the Court Prince Volkonsky and the theatre director were horrified at the thought of what would happen when the emperor learned of it. The ruined amber could not be hidden. The minister feared a reprimand, the director his resignation and the actors arrested.
A few days later Nicholas was passing by the room and, seeing the damage, asked Volkonsky what had happened. The minister nervously said the accident occurred during dinner when the actors were drinking glasses of wine. Nicholas replied ‘So, give them more water in the future’.
The minister had said he did not know if or when the amber pieces could be repaired. Was it restored? Can you spot flaws in the photos below?
Photograph (below) of the Amber Room in 1917
Photographs (below) of the Amber Room in 1931
The former Empress Marie lived in her house at Hvidøre near Copenhagen after the revolution. In her diary she writes of her passion searching for amber on the beach.
On Wednesday August 20th 1919 she wrote ‘I had my coffee, went out into my lovely garden and spoke for a while with the good old gardener. Dolgorukij and Vyazemsky also went down to the shore. I showed them the neighborhood and was very proud that I found right away ten pieces of amber’ and on the following Saturday ‘I went down all by myself to the shore and found pieces of amber, which made me very happy’.
A year later on September 30th she ‘walked a little by the shore and found two pieces of amber’. The next month on Tuesday the 5th she ‘again went off for a walk down by the shore, where I found five pieces of amber which made me very proud’.
Photograph (below) of Empress Marie on the beach of Hvidøre by her sister Queen Alexandra
Whenever we stayed in Tsarskoe Selo, the restoration of the Amber Room was still in progress. Viewing recent photos of the walls, I felt the room heavy, closing in on one, as in the Millions Room in Schönbrunn Palace in Vienna. Then I saw the panorama below with the beautiful ceiling and tall windows. The room is magnificent!
Wednesday, 12 July 2017
A replica of Raphael’s allegorical figures was created by the Italian painter of classicism Antonio Vigi in the Jasper Drawing Room. Vigi recreated the figures after the 1837 fire in the new Malachite Hall in the Winter Palace.
The central figure is called ‘Poetry’ from Raphael’s series ‘Stanza Della Segnatura’ in the Vatican. I describe in my book Vigi’s use of the old technique by order of Nicholas I in applying the figures on the white imitation marble. The seams visible on the wall, misidentified as cracks, reproduce the appearance of authentic marble.
Photograph (below) of Vigi’s replica of Raphael’s allegorical figure ‘Poetry’ in the Malachite Hall
Photograph (below) or Raphael’s ‘Poetry’ c1508 in the Vatican
The cupid on the left holds a tablet with the letters NVMI NE and on the right AFFLA TVR. What words do the Latin letters represent? If it was in English, Raphael would be known as another Nostradamus with the premonition, 300 years in the future, that Nicholas I (N I) and Alexandra (AF) would reign!
Photographs (below) of ‘Night’ and ‘Day’ allegorical figures next to ‘Poetry’ in the Malachite Hall
Thursday, 6 July 2017
In the summer of 1797 Emperor Paul had Empress Elizabeth’s stone palace in Peterhof redecorated and gave it to his wife Marie Feodorva. Nicholas I gave his son Alexander II the right to use the renamed Own Dacha in 1843.
Andrei Stakenschneider redesigned the facades and with Alexander Briullov the interiors in the French rococo stye from 1846 to 1850. On July 20th 1850 the solemn consecration of the renewed dacha was held before the imperial family.
Photographs (beow) of the Dacha c1870s to 1900s
Plan and Model (below) of the Dacha
Alexander II’s valet room, dressing room, study, dining room and yellow and blue drawing rooms were on the 1st floor.
The library, Marie’s study, drawing room, bedroom and maid’s room were on the 2nd Floor. Above the canopied bed was a carved ivory image of the Madonna. In the bathroom was a marble tub with the mural ‘Triumph of Galatea on the large wall.
L. Premazzi's watercolor (below) of the bedroom
It was here that Alexander II and Marie Alexandrovna honeymooned in the spring of 1841. A devastating loss for the family was the death of their six-year old daughter Alexandra in the dacha on June 16th, 1849. Although Alexander II lived in the Farm Palace in Peterhof, they continued to use the dacha occasionally. The lady-in-waiting Anna Tiutchev wrote that on the name day of Marie on July 22nd 1854 “… in the evening the imperial family gathered for tea in own little palace …”
Forty years later, Nicholas II wrote on June 26th 1895 that he “ … went with Alix to the Private Dacha. We looked over the house …”
Photographs (below) of the Dacha c1945 and today with restoration work ongoing