Russian Empress Catherine The Great, Who Was Honored For Her Contributions To Russian Art, Architecture, And Culture, Ruled The Country From 1762 Until 1796. During Her Reign, The Decorative Arts Developed, And The Furniture Of Her Era Reflects The Refined And Luxurious Tastes Of The Russian Court. This Book Provides Information On The Style, Composition, And History Of Catherine The Great’s Furniture As It Delves Into Its Finer Features And Historical Significance.
The Influence Of Catherine The Great On Furniture Design:
A Patron Of The Arts:
In Addition To Being A Monarch, Catherine The Great Also Supported The Arts. She Placed A Large Order For Furniture That Reflected Her Taste And The Latest Styles.
• European Influence: Catherine Had A Deep Appreciation For The Arts And Cultures Of Western Europe, Particularly Those Of France And Italy. This Influence Is Seen In The Predominance Of Neoclassical And Rococo Patterns In Her Furnishings.
• Russian Craftsmanship: Despite Having European Influences, The Furniture Also Showcased The Skills Of Russian Artisans Who Blended Local Materials And Techniques With Foreign Designs.
The Museum Of Hermitage:
Many Of The Works That Catherine The Great Had Commissioned Are Now Housed In The World’s Largest And Most Prestigious Museum, The Hermitage Museum In St. Petersburg. Magnificent Illustrations In The Collection Showcase The Richness And Artistic Talent Of The Time.
Important Features Of The Furnishings Made By Catherine The Great:
Exquisite Materials:
The Best Materials Were Used To Create The Furniture During The Reign Of Catherine The Great, Emphasizing Opulence And Grandeur.
- Mahogany And Walnut: Due To Their Robustness And Deep Color, These Woods Were Frequently Utilized.
- Gilded Accents: Furniture Was Extensively Adorned With Gilt Bronze And Gold Leaf To Evoke A Sense Of Imperial Majesty.
- Upholstery: Rich, Vibrant Colors And Intricate Patterns Were Common Features Of Upholstered Furniture, Which Was Made From Fine Fabrics Like Silk And Velvet.
Detailed Designs:
The Elaborate Decorations And Carvings On The Furniture Reflected The Prevailing Trends In Art At The Time.
• Rococo Style: Known For Its Elaborate Curves, Asymmetry, And Whimsical Motifs, Rococo Was Popular Throughout The Early Years Of Catherine’s Reign.
• Neoclassical Style: Later On, Classical Features Like Friezes And Columns Were Again Common, Along With Symmetry And Straight Lines.
Useful Art:
The Furniture Was Obviously Ornamental, But It Also Had A Practical Purpose Because It Was Made For The Opulent Lifestyle Of The Russian Court.
- Chairs And Thrones: Designed To Represent Authority And Power, These Objects Were Frequently Elaborate And Imposing.
- Desks And Cabinets: Designed With Aesthetic Appeal In Mind, These Functional Pieces Served Administrative Needs.
- Tables And Consoles: Frequently With Marble Tops And Elaborate Inlays, They Were Indispensable For The Numerous Dinners And Events Hosted At The Court.
Important Items And Their Importance:
During and after the reign of the Empress Catherine II of Russia, whose long rule led to the modernisation of the Russian Empire, many urban legends arose, some legends based on true events, concerning her sexual behaviour.
Catherine had about 22 male lovers throughout her life, some of whom would reap political benefits from their relationship with her, and many of whom were relatively younger. In addition to her sexual relationships, her multiple relationships with Russian nobles, as well as unfounded allegations of her being a nymphomaniac or a libertine, and unfounded rumours that she liked to collect erotic furniture, and an atmosphere of palace intrigue cultivated by her son Paul I of Russia, led to negative portrayals of Catherine.
Some called her the “Messalina of the Neva”, while others termed her a nymphomaniac. There is also a legend that she died while having sex with a horse.
Personal Life Narratives:
Rumours of Catherine’s private life had a small basis in the fact that she took many young lovers, even in old age. (Lord Byron’s Don Juan, around the age of 22, becomes her lover after the siege of Ismail (1790), in a fiction written only about 25 years after Catherine’s death in 1796.) This practice was not unusual by the court standards of the day, nor was it unusual to use rumour and innuendo of sexual excess politically. One of her early lovers, Stanisław August Poniatowski, was later supported by her to become a king of Poland. This would not be the first nor last instance where the Queen would promote one of her lovers to political positions in order to solidify her own position and strengthen her support. For example, Grigory Orlov, an artillery officer from St. Petersburg; helped the queen in the coup against Peter III, and when the Queen took power, she rewarded him by making him a count, as well as naming him General-In-Chief.
One unfavourable rumour was that Alexander Dmitriev-Mamonov and her later lovers were chosen by Prince Potemkin himself, after the end of the long relationship Catherine had with Potemkin, where he, perhaps, was her morganatic husband. After Mamonov eloped from the 60-year-old Empress with a 16-year-old maid of honour and married her, the embittered Catherine reputedly revenged herself of her rival “by secretly sending policemen disguised as women to whip her in her husband’s presence”. However, another account claims that there is no truth in this story. Another unfavorable rumor concerned the legitimacy of her children. Many suspected that the queen’s children were not in fact fathered by Emperor Peter III, but in fact by some of the lovers she had taken. It was rumored that her children Ana, and Alexei were illegitimate. However, some historians even question the legitimacy of Paul I, due to the fact he was conceived so late into their marriage.
According to some contemporaries close to Catherine, Countess Praskovya Bruce was prized by her as “L’éprouveuse”, or “tester of male capacity.” Every potential lover was to spend a night with Bruce before he was admitted into Catherine’s personal apartments. Their friendship was cut short when Bruce was found “in an assignment” with Catherine’s youthful lover, Rimsky-Korsakov, ancestor of the composer; they both later withdrew from the imperial court to Moscow.
In his memoirs Charles François Philibert Masson (1762–1807) wrote that Catherine had “two passions, which never left her but with her last breath: the love of man, which degenerated into licentiousness, and the love of glory, which sank into vanity. By the first of these passions, she was never so far governed as to become a Messalina, but she often disgraced both her rank and sex: by the second, she was led to undertake many laudable projects, which were seldom completed, and to engage in unjust wars, from which she derived at least that kind of fame which never fails to accompany success”.
Death Narratives:
Death While Having Sex With A Horse:
Several stories about the circumstances of her death at age 67 in 1796 originated in the years following her death. An urban legend claims that she died as a result of her attempting sexual intercourse with a stallion—the story holds that the harness holding the horse above her broke, and she was crushed.
Death While In The Bathroom:
Another story claiming that she died on the toilet when her seat broke under her is partly true, in that she did collapse in a bathroom from a stroke, and died in her bed a day later.
This tale was widely circulated and even jokingly referred to by Aleksander Pushkin in one of his untitled poems. (“Наказ писала, флоты жгла, / И умерла, садясь на судно.”—literal translation: “Decreed the orders, burned the fleets / And died boarding a vessel,” the last line can also be translated as “And died sitting down on the toilet.”) There existed also a version on alleged assassination, by spring blades hidden in a toilet seat.
The Erotic Cabinet:
An urban legend states that an erotic cabinet was ordered by Catherine the Great, and was adjacent to her suite of rooms in Gatchina. According to said urban legend, the furniture was highly eccentric with tables that had large penises for legs. Penises and vulvae were carved out on the furniture, the walls were covered in erotic art, statues of a naked man and woman inside, and some versions of the legend state that some erotic artifacts from Pompeii were even brought into Russia to augment this collection.
There are unconfirmed reports of photographs of this cabinet. The rooms and the furniture were allegedly seen in 1940 by two Wehrmacht officers during the Nazi invasion of the Soviet Union, but even if that were true, the rooms and furniture seem to have vanished since then. The account says the Wehrmacht officers filed a report, but no report has ever been found, nor any other records from anyone from before, during, or after the World War II, other than the aforementioned legend. Also, the account says the rooms and furniture were seen in 1940, during the invasion of the Soviet Union by Nazi Germany, but the invasion did not start until 22 June 1941. For this reason, historical experts challenge the veracity of such claims. But as all of these stories did not even originate until some years after Catherine the Great’s death, it is most likely the cabinet never existed, and the whole story was fabricated as another bawdy tale.
Catherine The Great’s Throne:
The Throne, A Representation Of Catherine’s Imperial Power, Is Among The Most Recognizable Pieces Of Furniture From Her Reign. It Includes:
- Rich Gilding: The Throne Radiates Luxury As It Is Covered With Gold Leaf.
- Fine Sculptures: Power And Authority Symbols Are Portrayed In Finely Detailed Sculptures.
- Plush Upholstery: Opulent Textiles Improve Both Comfort And Style.
The Furnishings In The Amber Room:
Catherine Added To The Amber Room, Which Was First Built In Prussia And Then Given To Peter The Great. The Furniture In The Room Is An Exquisite Example Of Baroque Design.
• Amber Panels: The Furniture Has Amber Panels That Give It A Distinctive And Luxurious Look.
- Gold Accents: The Warm Tones Of The Amber Are Complemented By Gilded Embellishments.
Orlov Diamond Desk:
This Desk, Which Bears The Name Of Count Orlov, Her Lover, Is A Magnificent Example Of Neoclassical Design And A Reflection Of The Opulent Preferences Of Catherine’s Court.
- Beautiful Inlays: Precious Materials Are Expertly Inlaid Throughout The Desk.
- Functional Beauty: Although Quite Ornamental, It Had A Useful Function In Catherine’s Private Study.
The Furniture Legacy Of Catherine The Great:
Russian Decorative Arts Were Influenced By:
Russian Ornamental Arts Were Impacted Significantly By Catherine’s Patronage. She Set A High Bar For Upcoming Generations Of Russian Artisans With Her Attention On Quality And Craftsmanship.
• Artistic Standards: A Distinctive Aesthetic That Impacted Later Russian Furniture Design Was Produced By The Blending Of European And Russian Designs.
- Cultural Heritage: A Large Number Of Items From Catherine’s Time Are Conserved In Museums And Collectors Across The Globe And Are Regarded As National Treasures.
Gathering And Preserving:
Historians And Collectors Alike Have A Strong Desire For Furniture From Catherine The Great’s Reign.
- Auction Houses: Due To Their Historical Relevance And Fine Craftsmanship, Items That Occasionally Appear At Auctions Command High Prices.
- Museum Collections: Institutions Like The State Russian Museum And The Hermitage Museum House Enormous Collections Of Artifacts That Are Preserved For Future Generations.
Summary:
More Than Just Functional Furniture, Catherine The Great’s Apartments’ Contents Provide Witness To Her Reign And The Influence She Had On Russian Art And Culture. These Expensive Materials, Intricate Designs, And Combination Of Russian And European Styles Make These Objects Significant Historical Artifacts. One Might Get A Taste Of The Grandeur And Sophistication Of Russian Royal Life During The 18th Century By Learning About The History And Artistic Merits Of Catherine The Great’s Furniture.