INTRODUCTION
1Isabella Forbes and William Underhill, eds., Catherine the Great: Treasures of Imperial Russia from the State Hermitage Museum, St. Petersburg (London: Booth-Clibborn Editions, 1990), xvii.
2Nathalie Bondil, ed., Catherine the Great: Art for Empire, Masterpieces from the State Hermitage Museum (Montréal: Montréal Museum of Fine Arts; Gand, Belgium: Snoeck, 2005), 169.
3George Vilinbakhov and Magnus Olausson, eds., Catherine the Great & Gustav III (Stockholm: Nationalmuseum, 1998), 397.
4W. Bruce Lincoln, Sunlight at Midnight: St. Petersburg and the Rise of Modern Russia (New York, Basic Books, 2000), 45–46.
PART ONE: EXTREME MAKEOVER
CHAPTER ONE: THIS HEAVY THING
1Andrea Wulf, Chasing Venus: The Race to Measure the Heavens (New York: Knopf Doubleday, 2012), 112.
2St. Petersburg Jewelers: 18th–19th centuries, the State Hermitage Museum (St. Petersburg: Slavia, 2000), 24.
3Stefano Papi, Jewels of the Romanovs, Family & Court (London: Thames & Hudson, 2010), 29–30.
4Natalya Semyonova and Nicolas V. Iljine, eds., Selling Russia’s Treasures (Abbeville Press, 2013), 28.
CHAPTER TWO: THE BRIGHTEST STAR OF THE NORTH
1Robert K. Massie, Catherine the Great (New York: Random House, 2011), 274.
2Ibid., 327.
3Simon Dixon, Catherine the Great (New York: HarperCollins, 2009), 20.
4Anthony Lentin, Voltaire and Catherine the Great: Selected Correspondence (Cambridge, England: Oriental Research Partners, 1974), 10.
5Ibid., 44.
6Massie, Catherine, 338.
7Ibid., 465.
8Lentin, Voltaire, 10–12.
9Ibid., 13.
10Nathalie Bondil, ed., Catherine the Great: Art for Empire, Masterpieces from the State Hermitage Museum (Montréal: Montréal Museum of Fine Arts; Gand, Belgium: Snoeck, 2005), 218.
11George Vilinbakhov and Magnus Olausson, Catherine the Great & Gustav III (Stockholm: Nationalmuseum; Saint Petersburg: State Hermitage Museum, 1998), 97.
12Isabella Forbes and William Underhill, eds., Catherine the Great: Treasures of Imperial Russia from the State Hermitage Museum (London: Booth-Clibborn Editions, 1990), xviii.
13Troels Anderson, “Vigilius Eriksen in Russia,” Artes: Periodical of the Fine Arts 1 (1965): 56.
14Vilinbakhov and Olausson, Catherine & Gustav, 98.
15Bondil, Art for Empire, 150.
16Wolfram Koeppe, Vienna circa 1780: An Imperial Silver Service Rediscovered (New Haven, CT: Yale University Press, 2010), 28.
17Lentin, Voltaire, 103.
18Bondil, Art for Empire, 150.
19Ibid., 152.
20Ibid., 149.
21W. Bruce Lincoln, Sunlight at Midnight: St. Petersburg and the Rise of Modern Russia (New York: Basic Books, 2000), 88.
CHAPTER THREE: THE AMBROSIA OF ASIA
1Massie, Catherine, 266.
2Virginia Rounding, Catherine the Great: Love, Sex, and Power (London: St Martin’s Griffin, 2006), 198.
3Mark Cruse and Hilde Hoogenboom, trans., The Memoirs of Catherine the Great (New York: Modern Library, 2006), xi.
4Bondil, Art for Empire, 218.
5Forbes and Underhill, Catherine the Great: Treasures, xviii.
6The Imperial Residences around St. Petersburg (St. Petersburg: Alfa-Colour Art Publishers, 2003), 191.
7David Porter, “Chinoiserie and the Aesthetics of Illegitimacy,” Studies in Eighteenth-Century Culture, 28 (1999): 27.
8Maria Menshikova and Jet Pijzel-Dommisse, Silver Wonders from the East: Filigree of the Tsars (Amsterdam: Lord Humphries, 2006), 51.
9Will Black, The Chinese Palace at Oranienbaum (Boston and London: Bunker Hill Publishing, 2003), 7.
CHAPTER FOUR: COLLECTING DEBUT
1Giles MacDonogh, Frederick the Great: A Life in Deed and Letters (New York: St. Martin’s Griffin, 1999), 236.
2Helmut Börsch-Supan, “History’s Melody—Nature’s Rhythm,” in Sanssouci, ed. Gerhard Ullmann (Berlin: Propylaen Verlag, 1993), 132.
3Bondil, Art for Empire, 21.
4Massie, Catherine, 202.
5Christopher D. M. Atkins, The Signature Style of Frans Hals (Amsterdam: Amsterdam University Press, 2012), 25.
6Natalya Guseva and Catherine Philips, eds., Treasures of Catherine the Great: Hermitage Rooms at Somerset House (London: Christie’s International Media Division, 2000), 24.
7Vilinbakhov and Olausson, Catherine & Gustav, 397.
8Ibid.
CHAPTER FIVE: BUILDING FRENZY
1Oleg Yawein et al., The Hermitage XXI: The New Art Museum in the General Staff Building (London: Thames & Hudson, 2014), 23.
2Forbes and Underhill, Catherine the Great: Treasures, 180.
3George Vilinbakhov and V. Fedorov, Catherine the Great: An Enlightened Empress (National Museums Scotland and State Hermitage Museum; Edinburgh: NMS Enterprises, 2012), 57.
4Rosalind Polly Gray, Russian Genre Painting in the Nineteenth Century (Oxford: Oxford University Press, 2000), 1.
5Vilinbakhov and Fedorov, An Enlightened Empress, 56.
6William Coxe, Travels into Poland, Russia, Sweden, and Denmark (London: T. Cadell, 1784), 193–94.
7Katia Dianina, “Art and Authority: The Hermitage of Catherine the Great,” Russian Review 63 (2004): 648.
8Vladimir Matveyev, The Hermitage: Selected Treasures from a Great Museum (Booth-Clibborn Editions: 1996), 13.
9Natalya Guseva, “Catherine’s Apartments in her Imperial Palaces,” The British Art Journal 2 (2000/2001): 106.
10Guseva and Philips, Treasures of Catherine the Great, 17.
CHAPTER SIX: MY FALCON, MY GOLDEN PHEASANT
1Palace and Gatchina Park documents, letters, and memoirs (1712–1801) (St. Petersburg, 2006) 26, 28.
2George Heard Hamilton, The Art and Architecture of Russia (New York: Penguin Books, 1975), 201.
3Coxe, Travels, 311.
4Forbes and Underhill, Catherine the Great: Treasures, 181.
5Massie, Catherine, 321.
6Simon Sebag Montefiore, Potemkin: Prince of Princes (London: Phoenix Press, 2000), 101.
7Massie, Catherine, 316.
PART TWO: RUSSIA IS A EUROPEAN NATION
CHAPTER ONE: A MONUMENT TO PETER AND TO YOU
1John Vrieze, ed., Catherine, the Empress and the Arts (Zwolle: Waanders, 1996), 9.
2Alexander M. Schenker, The Bronze Horseman, Falconet’s Monument to Peter the Great (New Haven, CT: Yale University Press, 2003), 100.
3Ilse Bischoff, “Etienne-Maurice Falconet—Sculptor of the Statue of Peter the Great,” Russian Review, 24 (1965), 372.
4George Levitine, The Sculpture of Falconet (New York Graphic Society Ltd, 1972), 15.
5John Goodman, trans., Diderot on Art, The Salons of 1765 and Notes on Painting (New Haven, CT: Yale University Press, 1995), 163–64.
6Bischoff, “Etienne-Maurice Falconet,” 376.
7Ibid.
8Schenker, Bronze Horseman, 101.
9Bischoff, “Etienne-Maurice Falconet,” 378–79.
10Ibid., 377.
11Robert K. Massie, Catherine the Great (New York: Random House, 2011), 529.
12Schenker, Bronze Horseman, 58.
13H. N. Opperman, “Marie-Anne Collot in Russia: Two Portraits,” Burlington Magazine 107 (1965): 412.
14Christiane Dellac, Marie-Anne Collot: Une sculptrice francaise a la cour de Catherine II (Paris: L’Harmattan, 2005), 38.
15Ibid., 37.
CHAPTER TWO: MAKE PEACE WITH YOUR ENEMY
1John T. Alexander, Catherine the Great: Life and Legend (Oxford: Oxford University Press, 1989), 107.
2Frank T. Brechka, “Catherine the Great: The Books She Read,” The Journal of Library History 4 (1969): 43.
3Schenker, Bronze Horseman, 46.
4Bischoff, “Etienne-Maurice Falconet,” 378.
5Schenker, Bronze Horseman, 219.
6Ibid., 280.
7Ibid., 279.
8Ibid., 130.
9Ibid., 281.
10Opperman, “Marie-Anne Collot in Russia,” 412.
11Bischoff, “Etienne-Maurice Falconet,” 378.
CHAPTER THREE: MY PRODIGAL SON
1Christoph Martin Vogtherr, Jean de Julienne: Collector and Connoisseur (London: The Wallace Collection, 2011), 40.
2Goodman, Diderot on Art, 22.
3Irina Kuznetsova, From Poussin to Matisse: The Russian Taste for French Painting (Chicago: The Art Institute of Chicago; New York: The Metropolitan Museum of Art and Harry N. Abrams, Inc., 1990), 56.
4Charles Isaac Elton and Mary Augusta Elton, The Great Book Collectors (London: Kegan Paul, Trench, Trübner & Co., Ltd., 1893), 153.
5Joanna Pittman, The Dragon’s Tail: The Biography of Raphael’s Masterpiece (Simon & Schuster, 2006), 190.
6Simon Dixon. Catherine the Great (New York: HarperCollins, 2009), 194.
CHAPTER FOUR: THE SAXON RICHELIEU
1Natalya Semyonova and Nicolas V. Iljine, eds., Selling Russia’s Treasures (New York: Abbeville Press, 2013), 350.
2Oleg Neverov and Dmitry Alexinsky, The Hermitage Collections: Treasures of World Art (New York: Rizzoli; St. Petersburg: ARCA Publishers, 2010), 18.
3James R. Gaines, Evening in the Palace of Reason (New York: HarperCollins, 2005), 72.
4Tobias Burg, “Works by Chardin in the Collection of Count Heinrich von Brühl,” Burlington Magazine 150 (2008): 533.
5Carolin C. Young, Apples of Gold in Settings of Silver: Stories of Dinner as a Work of Art (Simon & Schuster, 2002), 156.
6Tessa Murdoch and Heike Zech, eds., Going for Gold: Craftsmanship and Collecting of Gold Boxes (Sussex Academic Press, 2013), 186.
7Pierre Gaxotte, Frederick the Great, trans. R. A. Bell (London: G. Bell and Sons, 1941), 271.
8Young, Apples of Gold, 150–51.
9Ibid., 153.
10Ibid., 156.
11Johann Heinrich Gottlob von Justi, “The life and character, rise and conduct, of Count Bruhl, prime minister to the king of Poland, elector of Saxony” (London: n.p., 1761), 16.
12Murdoch and Zech, Going for Gold, 187.
13Antonio Mazzotta, Titian: A Fresh Look at Nature (London: National Gallery Company, 2012), 13.
14Ibid., 30.
15Rubens and His Age: Treasures from the Hermitage Museum, Russia (Art Gallery of Ontario, Merrell, 2001), 34.
CHAPTER FIVE: THE EARTH AND SEA TREMBLED
1Nathalie Bondil, ed., Catherine the Great: Art for Empire, Masterpieces from the State Hermitage Museum (Montréal: Montréal Museum of Fine Arts; Gand, Belgium: Snoeck, 2005), 173.
2Virginia Rounding, Catherine the Great: Love, Sex, and Power (London: St Martin’s Griffin, 2006), 223.
3Ibid., 228.
4Irina Artemieva, “The Sources of Italian Renaissance Paintings in the Hermitage,” in Florence and Venice: Italian Renaissance Paintings and Sculpture from the State Hermitage Museum, ed. Kokuritsu Seiyo Bijutsukan (Tokyo: National Museum of Western Art, 1999), 242.
5Emma Barker, “Mme Geoffrin, Painting and Galanterie: Carle Van Loo’s ‘Conversation Espagnole’ and ‘Lecture Espagnole,’” Eighteenth-Century Studies, 40 (2007): 604.
6Rounding, Catherine, 231.
7Anthony Lentin, ed. and trans. Voltaire and Catherine the Great: Selected Correspondence (Cambridge, UK: Oriental Research Partners, 1974), 116.
8W. Bruce Lincoln, Sunlight at Midnight: St. Petersburg and the Rise of Modern Russia (New York: Basic Books, 2000), 141.
9Neverov and Alexinsky, Treasures of World Art, 19.
PART THREE: WAR AND LOVE
CHAPTER ONE: QUEEN OF FEASTS
1Virginia Rounding, Catherine the Great: Love, Sex, and Power (London: St Martin’s Griffin, 2006), 225–26.
2Anthony Lentin, ed. and trans., Voltaire and Catherine the Great: Selected Correspondence (Cambridge, UK: Oriental Research Partners, 1974), 93.
3Diana Scarisbrick, Sotheby’s 2005 catalogue note, http://www.jewelsdujour.com/2013/04/a-highly-important-bow-necklace-from-the-collection-of-the-russian-imperial-family/.
4Alexei Denisov, “Monarchs’ Menu: Feasts Fit for Russian Tsars and Emperors,” Russian beyond the Headlines, July 9, 2014. http://rbth.com/arts/2014/07/09/monarchs_menu_feasts_fit_for_russian_tsars_and_emperors_38051.html.
5Mikhail B. Piotrovsky, et al., Dining with the Tsars: Fragile Beauty from the Hermitage (Amsterdam: Hermitage Amsterdam, 2014), 14.
6Isabel de Madariaga, Russia in the Age of Catherine the Great (London: Phoenix Press, 2002), 573.
7Denisov, “Monarchs’ menu.”
8Piotrovsky, Dining with the Tsars, 29.
9Ibid.
10Ibid., 30.
11Wolfram Koeppe, Vienna circa 1780: An Imperial Silver Service Rediscovered (New Haven, CT: Yale University Press, 2010), 7.
12Ibid.
13Clare Le Corbeiller, “Grace and Favor,” Metropolitan Museum of Art Bulletin 27 (1969): 289.
14Ibid., 290.
15Ibid., 292.
16Nathalie Bondil, ed., Catherine the Great: Art for Empire, Masterpieces from the State Hermitage Museum. (Montréal: Montréal Museum of Fine Arts; Gand, Belgium: Snoeck, 2005), 173.
17Jannic Durand, ed., Decorative Furnishings and Objects d’Art in the Louvre from Louis XIV to Marie Antoinette (Paris: Louvre éditions, 2014), 496.
18Howard Coutts and Ivan Day, “Sugar Sculpture, Porcelain and Table Layout 1530–1830” (paper presented at the Taking Shape talk series at the Henry Moore Institute, Leeds, England, October, 2008).
19George Vilinbakhov and Magnus Olausson, Catherine the Great & Gustav III (Stockholm: Nationalmuseum; Saint Petersburg: State Hermitage Museum, 1998), 135.
CHAPTER TWO: DRESSED TO “EMPRESS”
1V. N. Golovine, Memoirs of Countess Golovine: A Lady at the Court of Catherine II, trans. G. M. Fox-Davies (London: David Nutt, 1910), 38.
2François Boucher, 20,000 Years of Fashion: The History of Costume and Personal Adornment (New York: Abrams, 1967), 329.
3Svetlana A. Amelëkhina and Alexey K. Levykin, Magnificence of the Tsars (London: Victoria & Albert Publishing, 2009), 16.
4Christine Ruane, The Empire’s New Clothes: A History of the Russian Fashion Industry, 1700-1917 (New Haven, CT: Yale University Press, 2009), 152.
5T. T. Korshunova, “Secular Dress,” State Hermitage Museum, http://www.hermitagemuseum.org.html.
6Kimberly Chrisman-Campbell, Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette (New Haven, CT: Yale University Press, 2015), 317.
7Olga G. Kostjuk, Gold of the Tsars: 100 Masterpieces of the Hermitage, St. Petersburg (Stuttgart, Germany: Fritz Falk Arnoldsche, 1995), 21.
8Richard S. Wortman, Scenarios of Power, Vol. 1 (Princeton, NJ: Princeton University Press, 1995), 136.
9St. Petersburg Jewellers: 18th and 19th Centuries. (St. Petersburg: Slavia, 2000), 24.
10Alexander von Solodkoff, Russian Gold and Silver, trans. Christopher Holme (London: Trefoil Books, 1981), 32.
11The Treasure Gallery, The State Hermitage Museum App, http://www.hermitageapp.com/en/museum/app/treasure.html, 42.
12Diana Scarisbrick, Sotheby’s 2005 catalogue note, http://www.jewelsdujour.com/2013/04/a-highly-important-bow-necklace-from-the-collection-of-the-russian-imperial-family/.
13von Solodkoff, Russian Gold and Silver, 70.
14Rosalind Savill, “Cameo Fever: Six Pieces from the Sèvres Porcelain Dinner Service Made for Catherine II of Russia,” Apollo, 116 (1982): 309.
15Charles Truman, The Gilbert Collection of Gold Boxes (Los Angeles: Los Angeles County Museum of Art, 1991), 363.
16Scarisbrick, Sotheby’s 2005 catalogue note.
17Diana Scarisbrick, Portrait Jewels (London: Thames & Hudson, 2011), 222.
18Tessa Murdoch and Heike Zech, eds., Going for Gold: Craftsmanship and Collecting of Gold Boxes (Eastbourne, UK: Sussex Academic Press, 2013), 127.
19von Solodkoff, Russian Gold and Silver, 157.
20Bondil, Art for Empire, 38.
21Vilinbikhov and Olausson, Catherine & Gustav, 135.
CHAPTER THREE: PEACE OFFERINGS
1Rounding, Catherine, 235.
2Merridale, Red Fortress, 195.
3Rounding, Catherine, 239.
4Ibid., 241.
5Montefiore, Prince, 77.
CHAPTER FOUR: CROZAT THE POOR
1Ian McIntyre, Joshua Reynolds: The Life and Times (London: Allen Lane, 2003), 228.
2Joanna Pitman, The Dragon’s Trail: The Biography of Raphael’s Masterpiece (Simon & Schuster, 2006), 192.
3Lentin, Voltaire, 131.
4Pitman, Dragon’s Trail, 151.
5Thomas E. Crow, Painters and Public Life in Eighteenth-Century Paris (New Haven, CT: Yale University Press, 1985), 40.
6Barbara Scott, “Pierre Crozat: a Maecenas of the Regence,” Apollo 97 (1973): 16.
7Ibid.
8Rochelle Ziskin, Sheltering Art: Collecting and Social Identity in Early Eighteenth Century Paris (University Park: Pennsylvania State University Press, 2012), 24.
9Susannah Kathleen Rutherglen, “Ornamental Paintings of the Venetian Renaissance” (PhD diss., Princeton University, 2012), 322.
10Bernard Berenson, The Study and Criticism of Italian Art (London: George Bell & Sons, 1901), 89.
11Berenson, Study and Criticism, 76.
12Rutherglen, “Ornamental Paintings,” 133.
CHAPTER FIVE: THE COACHMAN OF EUROPE
1Bondil, Art for Empire, 6.
2Lentin, Voltaire, 22.
3F. J. B. Watson, “The Choiseul Boxes,” in 18th Century Gold Boxes of Europe, ed. Kenneth Snowman (Boston: Boston Book and Art Shop, 1966), 146.
4Selma Schwartz and Pippa Shirley, eds., The Duc de Choiseul: Essays in Honour of Mrs. Charles Wrightsman: Waddesdon Miscellanea, vol. 1. (Waddesdon, UK: The Alice Trust, Waddesdon Manor, 2009), 20.
5Ibid., 72.
6Rohan Butler, Choiseul Volume I: Father and Son; 1719-1754 (Oxford: Clarendon Press, 1980), 797.
7Barbara Scott, “The duc de Choiseul: A Minister in the Grand Manner,” Apollo 97 (1973): 44.
8Lentin, Voltaire, 22.
9Emma Barker, “Imaging Childhood in Eighteenth-Century France: Greuze’s Little Girls with a Dog,” The Art Bulletin 91 (2009): 437.
10Emile Dacier, “Choiseul as a Collector,” Gazette des Beaux-Arts 36 (1949): 155.
11Natalya Semyonova and Nicolas V. Iljine, eds., Selling Russia’s Treasures (New York: Abbeville Press, 2013), 350.
12Natalya Babina, Flemings through the Eyes of David Teniers the Younger (St. Petersburg: State Hermitage Museum Publishers, 2010), 107.
13Pierre Cabanne, The Great Collectors (London: Cassell, 1963), 11.
CHAPTER SIX: TIGER IN THE FOREST
1Jay Winik, The Great Upheaval: America and the Birth of the Modern World (New York: HarperCollins, 2007), 345.
2Stefano Papi, Jewels of the Romanovs, Family & Court (London: Thames & Hudson, 2010), 33–34.
3Ian Balfour, Famous Diamonds (New York: Christie’s Books, 1997), 195.
4Marcia Pointon, Brilliant Effects: A Cultural History of Gem Stones & Jewellery (New Haven, CT: Yale University Press), 159.
5Rounding, Catherine, 228.
6Francis Steegmuller, A Woman, a Man and Two Kingdoms (New York: Knopf, 1991), 27.
7G. P. Gooch, “Catherine the Great and Grimm,” The Contemporary Review 182 (1952): 358.
8Larry Wolff, Inventing Eastern Europe: The Map of Civilization on the Mind of the Enlightenment (Stanford, CA: Stanford University Press, 1994), 225.
9Bondil, Art for Empire, 21.
10Brian Grosskurth, “Shifting Monuments: Falconet’s Peter the Great between Diderot and Eisenstein,” Oxford Art Journal 23 (2000): 29.
11Wolff, Inventing Eastern Europe, 228.
12Malcolm Bradbury, To the Hermitage (New York: The Overlook Press, 2002), 451–52.
13Wolff, Inventing Eastern Europe, 230.
PART FOUR: PEACE AND PROSPERITY
CHAPTER ONE: SLEEPLESS NIGHTS
1Douglas Smith, ed. and trans., Love & Conquest: Personal Correspondence of Catherine the Great and Prince Grigory Potemkin (DeKalb: Northern Illinois University Press, 2004), 8.
2Virginia Rounding, Catherine the Great: Love, Sex, and Power (London: St Martin’s Griffin, 2006), 273.
3Oleg Neverov, Great Private Collections of Imperial Russia (London and New York: Thames & Hudson, 2004), 76.
4Rounding, Catherine, 275.
5Smith, Love, 10.
6Rounding, Catherine, 274.
7Robert K. Massie, Catherine the Great (New York: Random House, 2011), 416.
8Smith, Love, xxxvii.
9Simon Sebag Montefiore, The Prince of Princes: The Life of Potemkin (London: Weidenfeld & Nicolson, 2000), 153.
10Jay Winik, The Great Upheaval: America and the Birth of the Modern World, 1788-1800 (New York: HarperCollins, 2007), 347.
11Ibid., 351.
12Montefiore, Prince, 157.
13Ibid., 159.
14George Vilinbakhov and V. Fedorov, Catherine the Great: An Enlightened Empress (Edinburgh: National Museums of Scotland and NMS Enterprises, 2012), 139.
CHAPTER TWO: ANGLOMANIA
1Brian Dolan, Josiah Wedgwood: Entrepreneur to the Enlightenment (London: HarperCollins, 2004), 268.
2Ibid., 266.
3Ibid.
4Brian Allen and Larissa Dukelskaya, eds., British Art Treasures from Russian Imperial Collections in the Hermitage (New Haven, CT: Yale University Press, 1996), 119.
5Hilary Young, The Genius of Wedgwood (London: Victoria & Albert Museum, 1995), 139.
6N. McKendrick, “Josiah Wedgwood: An Eighteenth-Century Entrepreneur in Salesmanship and Marketing Techniques,” The Economic History Review, new series, 12 (1960): 433.
7Allen and Dukelskaya, British Art Treasures, 121.
8Peter Hayden, “British Seats on Imperial Russian Tables,” Garden History 13 (1985): 18–19.
9Asen Kirin, Exuberance of Meaning: The Art Patronage of Catherine the Great (1762–1796) (Athens, GA: Georgia Museum of Art, University of Georgia, 2013), 285.
10Young, Genius, 208.
11Ibid.
12Alexander Orloff and Dmitri Shvidkovsky, St. Petersburg: Architecture of the Tsars (New York: Abbeville Press, 1996), 94.
CHAPTER THREE: A CROWD AND NOT A CITY
1Catherine Merridale, Red Fortress: History and Illusion in the Kremlin (London: Picador, 2013), 189.
2Ibid., 190.
3John T. Alexander, Catherine the Great: Life and Legend (Oxford: Oxford University Press, 1989), 116.
4Merridale, Red Fortress, 195.
5Ibid., 181.
6Ibid., 192.
7Ibid.
8Simon Dixon, Catherine the Great (New York: HarperCollins, 2009), 170.
9Vilinbakhov and Fedorov, Enlightened Empress, 57.
10Hugh Ragsdale, Tsar Paul and the Question of Madness (Santa Barbara, CA: Greenwood Press, 1988), 6.
11Vilinbahkhov and Fedrov, Enlightened Empress, 214.
12Phoebe Taplin, “Discover Moscow’s Estates and Palaces in All Their Glory,” Russia beyond the Headlines, September 27, 2012, http://www.telegraph.co.uk/sponsored/rbth/features/9570893/moscow-estates-palaces.html.
13Montefiore, Prince, 155.
14Rounding, Catherine, 412.
15Merridale, Red Fortress, 213.
16Dixon, Catherine, 213.
CHAPTER FOUR: BREAKING THE MOLD
1Isabella Forbes and William Underhill, eds., Catherine the Great: Treasures of Imperial Russia from the State Hermitage Museum (London: Booth-Clibborn Editions, 1990), xviii.
2Rounding, Catherine, 325.
3Rosalind Savill, “Cameo Fever: Six Pieces from the Sèvres Porcelain Dinner Service Made for Catherine II of Russia,” Apollo 116 (1982): 304.
4Ibid., 306.
5John Whitehead, Sèvres at the Time of Louis XVI (Paris: Editions Courtes et Longues, 2010), 136.
6Ibid., 110.
7Ibid., 84.
8Montefiore, Prince, 170.
9Ibid., 166.
10Alexander, Catherine, 160.
11Ibid., 346.
12Ibid., 169.
13Teresa Levonian Cole, “St. Petersburg: the Cats of the Hermitage,” Telegraph, May 23, 2013.
CHAPTER FIVE: BROTHER GU
1George Vilinbakhov and Magnus Olausson, Catherine the Great & Gustav III (Stockholm: Nationalmuseum; St. Petersburg: State Hermitage Museum, 1998), 54.
2Ibid., 156.
3Ibid., 55.
4Ibid., 53.
5Ibid., 20.
6Rounding, Catherine, 320.
7Neverov, Great Private Collections, 22.
8Dixon, Catherine, 260.
CHAPTER SIX: CATEAU AND THE HERMIT OF FERNEY
1Lentin, Voltaire, 31.
2Dena Goodman, “Pigalle’s Voltaire nu: The Republic of Letters Represents Itself to the World,” Representations 16 (1986): 99.
3Guilhem Scherf, Houdon at the Louvre: Masterworks of the Enlightenment (Paris: Musee du Louvre Editions, 2008), 48.
4Ibid., 50.
5Anne L. Poulet, ed., Jean-Antoine Houdon, Sculptor of the Enlightenment (Washington, DC: National Gallery of Art; Chicago: University of Chicago Press, 2003), 163.
6Ibid., 165.
7Ibid., 164.
8H. H. Arnason, The Sculptures of Houdon (Oxford: Oxford University Press, 1975), 50.
9Poulet, Houdon, 51.
10Henri Troyat, Catherine the Great, trans., Joan Pinkham (New York: Meridian, 1994), 226.
11Montefiore, Prince, 171.
12Ibid., 355.
13Ibid., 189.
PART FIVE: A SECOND ROME
CHAPTER ONE: CAT AND MOUSE
1Houghton Revisited: The Walpole Masterpieces from Catherine the Great’s Hermitage (London: Royal Academy of Arts, 2013), 29.
2Wilmarth Sheldon Lewis, Horace Walpole (New York: Pantheon Books, 1961), 16.
3Susan Jenkins, “Power Play: James Brydges, 1st Duke of Chandos, and Sir Robert Walpole: The Politics of Collecting in the Early 18th Century,” The British Art Journal 4 (2003): 82.
4Houghton Revisited, 154.
5Ibid., 124.
6Andrew Moore and Larissa Dukelskaya, eds., A Capital Collection: Houghton Hall and the Hermitage (New Haven, CT: Yale University Press, 2002), 38.
7Ibid.
8Ibid., 59.
9Andrew Moore, Norfolk and the Grand Tour (Norwich, UK: Norfolk Museums Service, 1985), 49.
10Ibid., 60.
11Houghton Revisited, 31.
12Ibid., 43.
13Morris R. Brownell, The Prime Minister of Taste: A Portrait of Horace Walpole (New Haven, CT: Yale University Press 2001), 65.
14David Cholmondeley and Andrew Moore, Houghton Hall: Portrait of an English Country House (New York: Skira Rizzoli, 2014), 126.
15Giovan Pietro Bellori, The Lives of the Modern Painters, Sculptors, and Architects: A New Translation and Critical Edition, trans. Alice Sedgwick Wohl (New York: Cambridge University Press, 2005), 215.
16Natalya Gritsay, “Rubens and His Followers,” in Rubens and His Age: Treasures from the Hermitage Museum, Russia, ed. Christina Corsiglia (London: Merrell in association with Art Gallery of Ontario, 2001), 35.
17Emilie Gordenker, “Aspects of Costume in Van Dyck’s English Portraits,” in Van Dyck 1599–1999: Conjectures and Refutations, ed. Hans Vlieghe (Turnhout, Belgium: Brepols, 2001), 223.
18Karen Hearn, ed., Van Dyck & Britain (London: Tate Publishing, 2009), 72.
19Natalya Gritsay, Anthony van Dyck (St. Petersburg: Aurora Art Publishers, 1996), 132.
20Mikhail B. Piotrovsky, The Hermitage: 250 Masterworks (New York: Skira Rizzoli, 2014), 133.
21Moore, A Capital Collection, 76.
22Ibid., 76.
23Anthony Cross, Catherine the Great and the British (Nottingham, England: Astra Press, 2001), 18.
24Moore and Dukelskaya, A Capital Collection, 74.
CHAPTER TWO: RAPHAELISM
1Virginia Rounding, Catherine the Great: Love, Sex, and Power (London: St Martin’s Griffin, 2006), 332.
2Oleg Neverov, Great Private Collections of Imperial Russia (London and New York: Thames & Hudson, 2004), 23.
3Nathalie Bondil, ed., Catherine the Great: Art for Empire, Masterpieces from the State Hermitage Museum (Montréal: Montréal Museum of Fine Arts; Gand, Belgium: Snoeck, 2005), 201.
4Nicole Dacos, The Loggia of Raphael: A Vatican Art Treasure (New York: Abbeville Press, 2008), 322
5Dimitri Ozerov, “Catherine II et les Loges de Volpato,” in Giovanni Volpato: Les loges de Raphaël l et la galerie du Palais Farnèseed, ed. Annie Gilet (Milan: Silvana; Tours: Musée des beaux-arts, 2007), 81.
6Giorgio Vasari, Lives of the Artists, trans. George Bull (London and New York: Penguin Books, 1987), 219.
7Dacos, Loggia, 199.
8Tom Henry and Paul Joannides, eds., Late Raphael (Madrid: Museo Nacional del Prado, 2012), 34–35.
9Una Roman D’Elia, “Grotesque Painting and Painting as Grotesque in the Renaissance,” Notes in the History of Art 33 (2014): 5.
10Dacos, Loggia, 15.
11Chiara Felicetti, Maria Barbara, and Guerrieri Borsoi, Cristoforo Unterperger: Un Pittore Fiemmese Nell’Europa del Settecento (Rome: Edizioni de Luca, 1999), 189.
12Ibid.
13W. P. Cresson, Francis Dana: A Puritan Diplomat at the Court of Catherine the Great (New York: L. MacVeagh, The Dial Press; Toronto: Longmans, Green & Co., 1930), 111.
14Joana Pitman, The Dragon’s Trail: The Biography of Raphael’s Masterpiece (New York: Simon & Schuster, 2006), 201.
CHAPTER THREE: SASHENKA
1Robert K. Massie, Catherine the Great (New York: Random House, 2011), 454.
2Douglas Smith, ed. and trans., Love and Conquest: Personal Correspondence of Catherine the Great and Prince Grigory Potemkin (DeKalb: Northern Illinois University Press, 2004), xli.
3Neverov, Great Private Collections, 79–80.
4Rounding, Catherine, 50.
5Catherine, Empress of Russia, Letters from Empress Catherine II to Grimm (1774–1796) (St. Petersburg: Anthology of the Imperial Russian Historical Society, 1878), 76–77.
6Pierre Cabanne, The Great Collectors (London: Cassell, 1963), 15.
7Neverov, Great Private Collections, 80.
8Rudolf Ekkart and Quentin Buvelot, Dutch Portraits: The Age of Rembrandt and Frans Hals, trans. Beverly Jackson (Zwolle, Netherlands: Waanders Publishers; Royal Picture Gallery Mauritshuis; National Gallery Company, 2007), 212.
9Jonathan Bikker and Gregor Weber, Rembrandt: The Late Works (New Haven, CT: Yale University Press, 2014), 13.
10Simon Schama, “Simon Schama on Rembrandt’s late works,” Financial Times, October 17, 2014.
11Piotrovsky, 250 Masterworks, 141.
12Ernst van de Wetering, A Corpus of Rembrandt Paintings: A Complete Survey, trans. and ed. Murray Pearson Springer (Dordrecht, Netherlands: Stichting Foundation, Rembrandt Research Project, Springer, 2015), 636.
13Jeremias de Dekker, “An Expression of Gratitude to the Excellent and Widely Renowned Rembrandt van Rijn,” in Lof der Geldsucht ofte Vervolg der Mijmoeffeningen, trans. Benjamin Binstock (Amsterdam, 1667), www.learn.columbia.edu/monographs/remmon/pdf/art_hum_reading_32.pdf.
14Maria Dolores Sanchez-Jauregui and Scott Wilcox, The English Prize: The Capture of the Westmorland (New Haven, CT: Yale University Press, 2012), 173.
15Ibid., 101.
16Ibid., 102.
17Olga Neverov and Dmitry Pavlovich Alexinsky, The Hermitage Collections: Volume I: Treasures of World Art (New York: Rizzoli, 2010), 26.
18Johann Joachim Winckelmann, History of the Art of Antiquity, ed. Alex Potts, trans. Harry Francis Mallgrave (Los Angeles: Getty Research Institute, 2006), 213.
19Rounding, Catherine, 357.
20Simon Dixon, Catherine the Great (New York: HarperCollins, 2009), 261.
21John Vrieze, ed., Catherine, the Empress and the Arts: Treasures from the Hermitage (Zwolle, Netherlands: Waanders, 1996), 157.
22V. F. Levinson-Lessing, ed., The Hermitage Leningrad: Medieval & Renaissance Masters (London: Paul Hamlyn, 1967), vii.
23Dixon, Catherine, 262.
24Rounding, Catherine, 358.
CHAPTER FOUR: PALLADIO’S SHADOW
1Jay Winik, The Great Upheaval: America and the Birth of the Modern World, 1788–1800 (New York: HarperCollins, 2007), 432.
2Tamara Talbot Rice, Charles Cameron c. 1740–1812 Architectural Drawings and Photographs from the Hermitage Collection, Leningrad and Architectural Museum, Moscow (Moscow: The Arts Council, 1967), 7.
3Dmitry Shvidkovsky, Russian Architecture and the West (New Haven, CT: Yale University Press, 2007), 254.
4Geraldine Norman, The Hermitage: The Biography of a Great Museum (London: Pimlico, 1997), 39.
5Guido Beltramini and Howard Burns, eds., Palladio (London: Royal Academy of Arts, 2008), 376.
6Shvidkovsky, Russian Architecture, 257.
CHAPTER FIVE: THE GREEK PROJECT
1Ibid.
2Ibid., 258.
3Frank Salmon, “Charles Cameron and Nero’s Domus Aurea: ‘una piccolo esplorazione,’” Architectural History 36 (1993): 78.
4Shvidkovsky, Russian Architecture, 241.
5Tatiana Voltchkova, “The Russian Commissions of Philippe de Lasalle,” CIETA Bulletin 76 (1999): 121.
6Isobel Rae, Charles Cameron: Architect to the Court of Russia (London: Elek Books, 1971), 46.
7John Goldsmith Phillips, “A Silk Portrait of Catherine the Great,” Metropolitan Museum of Art Bulletin 36 (1941): 152.
8Emmanuel Ducamp, ed., Summer Palaces of the Romanovs: Treasures from Tsarskoye Selo, trans. Barbara Mellor, photography by Marc Walter (New York and London: Thames & Hudson, 2012), 14.
9Dimitri Shvidkovsky, The Empress & the Architect (New Haven, CT, and London: Yale University Press, 1996), 45.
10Ancient Rome, The State Hermitage Museum App, http://www.hermitageapp.com/en/museum/app/rome.html, 8.
11Ducamp, The Summer Palaces, 164.
12Anthony Cross, By the Banks of the Neva: Chapters from the Lives and Careers of the British in Eighteenth-Century Russia (Cambridge: Cambridge University Press, 1997), 289.
13SIRIO (Collection of the Imperial Russian Historical Society), 23 (St. Petersburg: 1878), 313.
14Dixon, Catherine, 259.
15Shvidkovsky, The Empress & the Architect, 46.
16Philip Mansel, Prince of Europe: The Life of Charles-Joseph De Ligne (London: Phoenix, 2003), 102.
17Hugh Ragsdale, “Evaluating the Traditions of Russian Aggression: Catherine II and the Greek Project,” The Slavonic and East European Review 66 (1988): 93.
18Shvidkovsky, Russian Architecture, 259.
19Ibid.
20George E. Munro, “Catherine Discovers St. Petersburg,” Jahrbucher fur Geschichte Osteuropas, Neue Folge, Bd. 56 (2008): 332.
PART SIX: EMPIRE BUILDING
CHAPTER ONE: MOTHER OF THE FATHERLAND
1George Levitine, The Sculpture of Falconet (New York: New York Graphic Society Ltd., 1972), 20.
2Ilse Bischoff, “Etienne-Maurice Falconet: Sculptor of the Statue of Peter the Great,” Russian Review 24 (1965): 385.
3Anne L. Poulet, Jean-Antoine Houdon: Sculptor of the Enlightenment (Washington, DC: National Gallery of Art; Chicago and London: University of Chicago Press, 2003), 56.
4Ibid., 58.
5Simon Sebag Montefiore, The Prince of Princes: The Life of Potemkin (London: Weidenfeld & Nicolson, 2000), 356.
6Henri Troyat, Catherine the Great, trans. Joan Pinkham (New York: Meridian, 1994), 256.
7Simon Dixon, Catherine the Great (New York: HarperCollins, 2009), 266.
8Suzanne Massie, Pavlovsk: The Life of a Russian Palace (Little, Brown and Company, 1990), 39.
9Montefiore, Potemkin: Prince, 274
10Ibid., 275.
11Ibid., 276.
12Douglas Smith, ed. and trans., Love & Conquest: Personal Correspondence of Catherine the Great and Prince Grigory Potemkin (DeKalb: Northern Illinois University Press, 2004), 142.
13Ibid., 153.
CHAPTER TWO: A ROSE WITHOUT THORNS
1Tamara Talbot Rice, Charles Cameron: Architectural Drawings and Photographs from the Hermitage Collection, Leningrad and Architectural Museum (Moscow: The Arts Council, 1967), 21.
2Marina Alexandrovna Flit, Pavlovsk: the Palace and the Park, vol. 1 (Paris: Gourcuff, 1993), 14.
3Dmitry Shvidkovsky, The Empress & the Architect: British Architecture and Gardens at the Court of Catherine the Great (New Haven, CT: Yale University Press, 1996), 123–24.
4Flit, Pavlovsk, 41.
5Shvidkovsky, Empress, 148.
6Ibid.
7Isabel de Madariaga, Russia in the Age of Catherine the Great (London: Phoenix Press, 2002), 356.
8Flit, Pavlovsk, 37.
9Ibid., 25.
10Ibid., 49.
11Dmitry Shvidkovsky, Russian Architecture and the West (New Haven, CT: Yale University Press, 2007), 286.
12Ibid.
CHAPTER THREE: THE MASTER OF NEUWIED
1Isabella Forbes and William Underhill eds. Catherine the Great: Treasures of Imperial Russia from the State Hermitage Museum (London: Booth-Clibborn Editions, 1990), 189.
2George Vilinbakhov and Magnus Olausson, Catherine the Great & Gustav III (Stockholm: Nationalmuseum; St. Petersburg: State Hermitage Museum, 1998), 510.
3Madariaga, Catherine the Great, 533.
4Forbes and Underhill, Catherine the Great: Treasures, 190.
5Hans Huth, Roentgen Furniture: Abraham and David Roentgen, European Cabinet-makers (n.p.: Sotheby Parke Bernet, 1974), 3.
6Antoine Cheneviere, The Golden Age of Russian Furniture, 1780–1850 (New York: Vendome Press, 1988), 74.
7Ibid.
8Ibid., 76.
9Mikhail B. Piotrovsky, The Legacy of Catherine the Great (Melbourne: National Gallery of Victoria, 2015), 12.
10Carolyn Sargentson, “Reading, Writing, and Roentgen” (paper presented at “Extravagant Inventions—the Princely Furniture of the Roentgens” exhibition, The Metropolitan Museum of Art, New York, November 18, 2012).
11Oleg Neverov, Great Private Collections of Imperial Russia (London and New York: Thames & Hudson, 2004), 80.
12Evgenii V. Anisimov, Five Empresses: Court Life in Eighteenth Century Russia, trans. Kathleen Carroll (Westport, CT: Praeger, 2004), 336.
13Charles Francois Philibert Masson, Secret Memoirs of the Court of Petersburg, 2nd ed. (London: TN. Longman & O. Rees, 1801), 91.
14Wolfram Koeppe, “Gone with the Wind to the Western Hemisphere—Selling off Furniture by David Roentgen and Other Decorative Arts of the Eighteenth Century,” Canadian American Slavic Studies 43 (2009): 251.
CHAPTER FOUR: AN ACCIDENTAL MICHELANGELO
1Neverov, Great Private Collections, 57.
2Magnus Olausson and Solfrid Soderlind, “Nationalmuseum/Royal Museum, Stockholm: Connecting North and South,” The First Modern Museums of Art: The Birth of an Institution in 18th- and Early 19th-Century Europe, ed. Carole Paul (Los Angeles: The J. Paul Getty Museum, 2012), 193.
3Ibid., 195.
4James Harper, Art in Rome in the Eighteenth Century (Philadelphia: Philadelphia Museum of Art, 2000), 276.
5Oleg Neverov, “The Lyde Browne Collection and the History of Ancient Sculpture in the Hermitage Museum,” American Journal of Archeology 88 (1984): 39.
6Jonathan Scott, The Pleasures of Antiquity: British Collections of Greece of Rome (New Haven, CT: Yale University Press, 2003), 138.
7Andrew Moore, ed., Houghton Hall: The Prime Minister, the Empress and the Heritage (London: Philip Wilson, 1996), 62.
8Gerard Vaughan, “James Hugh Smith Barry as a Collector of Antiquities,” Apollo 126 (1987): 6.
9Ilaria Bignamini and Clare Hornsby, Digging and Dealing in Eighteenth Century Rome (New Haven, CT: Yale University Press, 2010), 245.
10Maria Dolores Sanchez-Jauregui and Scott Wilcox, eds., The English Prize: The Capture of the Westmorland (New Haven, CT: Yale University Press, 2012), 73.
11Bignamini and Hornsby, Digging, 244.
12Neverov, “The Lyde Browne Collection,” 40.
13Johannes Wilde, Michelangelo and His Studio: Italian Drawings in the Department of Prints and Drawings in the British Museum (London: British Museum, 1953), 54.
14Johannes Wilde, Michelangelo: Six Lectures, eds. John Shearman and Michael Hirst (Oxford: Clarendon Press, 1978), 127.
15Galina Stolyarova, “Renaissance Man: The Genius of Michelangelo Seen in a New Light,” Petersburg City, July 20, 2007, http://petersburgcity.com/news/culture/2007/07/20/David/html.
16William Wallace, Michelangelo: the Complete Sculpture, Painting, Architecture (Fairfield, CT: Hugh Lauter Levin Associates, 1998), 114.
17William Wallace, e-mail message to author, August 20, 2014.
18Shvidkovsky, The Empress, 101.
19Neverov, Great Private Collections, 22.
CHAPTER FIVE: SLINGS AND ARROWS
1Oleg Neverov, “Catherine the Great: Public and Private Collector,” The British Art Journal 2 (2000): 123.
2H. H. Arnason, The Sculptures of Houdon (Oxford: Oxford University Press, 1975), 43.
3Kimberly Chrisman-Campbell, “Getting Technical: Shedding New Light on Two Masterpieces of 18th-Century Sculpture,” Huntington Frontiers, The Huntington Library, Art Collections, and Botanical Gardens (Spring/Summer 2008): 8–9.
4Guilhem Scherf, Cast in Bronze: French Sculpture from Renaissance to Revolution (Paris: Musee du Louvre editions, 2009), 476.
5Montefiore, Potemkin, 353.
6Dixon, Catherine, 271.
7Montefiore, Potemkin, 356.
8Rounding, Catherine, 411.
9William Craft Brumfield, Landmarks of Russian Architecture: A Photographic Survey (Gordon and Breach Publishers, 1997), 172.
10Rounding, Catherine, 412.
11Shvidkovsky, Russian Architecture, 281.
12William Craft Brumfield, Lost Russia: Photographing the Ruins of Russian Architecture (Durham, NC: Duke University Press, 1995), 71.
13Rounding, Catherine, 413.
14Montefiore, Potemkin, 353.
15Ibid., 355.
16Montefiore, Potemkin, 322.
CHAPTER SIX: BABY HERCULES
1Rounding, Catherine, 415.
2Bondil, Art for Empire, 173.
3Montefiore, Catherine the Great’s Imperial Partner, 307.
4Oleg Neverov and Mikhail Piotrovsky, The Hermitage: Essays on the History of the Collection (St. Petersburg: Slavia Art Books, 1997), 24.
5Montefiore, Potemkin, 307.
6Chauncey Brewster Tinker, Painter and Poet: Studies in the Literary Relations of English Painting (Cambridge MA: Harvard University Press, 1939), 64.
7Dixon, Catherine, 103.
8John Ingamells and John Edgcumbe eds., The Letters of Sir Joshua Reynolds (New Haven, CT: Yale University Press, 2000), 158.
9Tinker, Painter and Poet, 61–62.
10Algernon Graves and William Vine Cronin, A History of the Works of Sir Joshua Reynolds, P.R.A. vol. 4 (Henry Graves and Co, 1901): 1139 (April 30 1789)
11Tinker, Painter and Poet, 65.
12Allen and Dukelskaya, British Art Treasures, 43.
13Anthony Cross ed., Engraved in the Memory: James Walker, Engraver to the Empress Catherine the Great and His Russian Anecdotes (Oxford: Berg, 1993), 146–47.
14Graves and Cronin, History, 1139.
15Ingamells and Edgcumbe, Letters, 211.
PART SEVEN: WAR AND REVOLUTION
CHAPTER ONE: CENTER STAGE
1Lurana Donnels O’Malley, The Dramatic Works of Catherine the Great: Theatre and Politics in Eighteenth-Century Russia (Hants, England, and Burlington, VT: Ashgate, 2006), 8.
2Virginia Rounding, Catherine the Great: Love, Sex, and Power (London: St Martin’s Griffin, 2006), 415.
3Piervaleriano Angelini, A. Bettagno, G. Mezzanotte, F. Rossi, and C. Zanella. Giacomo Quarenghi: Architetture e Vedute (Milan: Electa, 1994), 70.
4Banister F. Fletcher, Andrea Palladio: His Life and Works (London: George Bell and Sons, 1902), 31.
5Vladimir Matveyev, ed., The Hermitage: Selected Treasures from a Great Museum (London: Booth-Clibborn Editions, 1996), 13.
6O’Malley, Dramatic Works, 1.
7Ibid.
8Rounding, Catherine, 416.
9Ibid., 417.
10Suzanne Massie, Pavlovsk: The Life of a Russian Palace (Boston: Little, Brown and Company, 1990), 456.
11Rounding, Catherine, 419.
CHAPTER TWO: CAMEO FEVER
1Oleg Neverov, Great Private Collections of Imperial Russia (London and New York: Thames & Hudson, 2004), 24.
2Oleg Neverov, Antique Intaglios in the Hermitage Collection (St. Petersburg: Aurora Art Publishers, 1976), 6.
3Oleg Neverov, Antique Cameos in the Hermitage Collection (St. Petersburg: Aurora Art Publishers, 1971), 56.
4Militsa Korshunova, “Peter the Great’s St. Petersburg,” in Peter the Great: An Inspired Tsar (Amsterdam: Hermitage Amsterdam, 2013), 128–29.
5Oleg Neverov, “Gems from the Collection of Princess Dashkov,” Journal of the History of Collections 2 (1990): 66.
6Antoine Chenevière, The Golden Age of Russian Furniture, 1780-1850 (New York: Vendome Press, 1988), 76.
7The Collections of the Romanovs: European Art from the State Hermitage (London and New York: Merrell), 165.
8 Frank Althaus and Mark Sutcliffe, eds., The Triumph of Eros: Art and Seduction in 18th-Century France (London: Fontanka, 2006), 95.
9George Vilinbakhov and Magnus Olausson, Catherine the Great & Gustav III (Stockholm: Nationalmuseum; Saint Petersburg: State Hermitage Museum, 1998), 309.
10Elena Dmitrieva, “On the Formation of the Collection of Gem Impressions in the State Hermitage Museum,” Journal of the History of Collections 25 (2013): 81.
11Isabella Forbes and William Underhill, eds., Catherine the Great: Treasures of Imperial Russia from the State Hermitage Museum (London: Booth-Clibborn Editions, 1990), xix.
12Ibid., 11.
CHAPTER THREE: RUSSIA’S PARADISE
1Richard S. Wortman, Scenarios of Power: Myth and Ceremony in Russian Monarchy Vol. 1 & 2 (Princeton, NJ: Princeton University Press, 1995), 136–37.
2Robert K. Massie, Catherine the Great (New York: Random House, 2011), 490.
3Isobel Rae, Charles Cameron: Architect to the Court of Russia (London: Elek Books, 1971), 63.
4Massie, Catherine, 493.
5Larry Wolff, Inventing Eastern Europe: The Map of Civilization on the Mind of the Enlightenment (Stanford, CA: Stanford University Press), 1994.
6Wortman, Scenarios, 139.
7Ibid., 140.
8Vilinbakhov, Catherine & Gustav, 93.
9Wolff, Inventing, 130.
10Massie, Catherine, 496.
11Simon Sebag Montefiore, The Prince of Princes: The Life of Potemkin (London: Weidenfeld & Nicolson, 2000), 400.
12Wolff, Inventing, 133.
13Massie, Catherine, 499.
14Ibid.
15Andreas Schönle, “Garden of the Empire: Catherine’s Appropriation of the Crimea,” Slavic Review 60 (2001): 21.
16Douglas Smith, ed. and trans. Love & Conquest: Personal Correspondence of Catherine the Great and Prince Grigory Potemkin (DeKalb: Northern Illinois University Press, 2004), 178.
17Wolff, Inventing, 130.
18Schönle “Garden,” 23.
19Smith, Love & Conquest, 179.
20Alexander von Solodkoff, Russian Gold and Silver, trans. Christopher Holme (London: Trefoil Books, 1981), 157.
21Forbes and Underhill, Treasures of Imperial Russia, 192.
CHAPTER FOUR: BETRAYALS
1O’Malley, Dramatic Works, 115.
2Isabel de Madariaga, Russia in the Age of Catherine the Great (London: Phoenix Press, 2002), 401.
3O’Malley, Dramatic Works, 188.
4Simon Sebag Montefiore, Potemkin: Catherine the Great’s Imperial Partner (New York: First Vintage Books, 2005), 422.
5Smith, Love, 291.
6Ibid., 293.
7Massie, Catherine, 457.
8Smith, Love, 297.
9Charles Francois Philibert Masson, Secret Memoirs of the Court of Petersburg (New York: Arno Press and the New York Times, 1970), 45.
10Ibid., 52.
11Massie, Catherine, 414.
12Smith, Love, 299.
13John Parkinson, A Tour of Russia, Siberia and the Crimea 1792–1794, ed. William Collier (London: Cass, 1971), 78.
CHAPTER FIVE: FRENCH MADNESS
1Rounding, Catherine, 450.
2Montefiore, Imperial Partner, 424.
3Montefiore, Prince, 487.
4Rounding, Catherine, 454.
5Smith, Love, 326.
6Rounding, Catherine, 454.
7Thomas Ria, ed., Readings in Russian Civilization, Volume 2: Imperial Russia, 1700–1917 (Chicago: University of Chicago Press, 1969), 263.
8Antonia Fraser, Marie Antoinette: The Journey (New York: First Anchor Books, 2002), 308.
CHAPTER SIX: CURTAIN CALL
1J. Goodwin, Lords of the Horizons (New York: Henry Holt and Company, 1998), 244.
2George Levitine, The Sculpture of Falconet (New York: New York Graphic Society Ltd., 1972), 21.
3Simon Dixon, Catherine the Great (New York: HarperCollins, 2009), 307.
4William Craft Brumfield, Gold in Azure: One Thousand Years of Russian Architecture (Boston: David R. Godine, Inc., 1983), 287.
5Dmitry Shvidkovsky, Russian Architecture and the West, photographs by Yekaterina Shorban; trans. Antony Wood (New Haven, CT: Yale University Press, 2007), 266.
6Brian Allen, and Larissa Dukelskaya, eds., British Art Treasures from Russian Imperial Collections in the Hermitage (New Haven, CT: Yale University Press, 1996), 133.
7Shvidkovsky, Russian Architecture, 267.
8Neverov, Great Private Art Collections, 66.
9Thomas Raikes, A Visit to St. Petersburg in the Winter of 1829–30, http://stpetersburgrussia.ru/Architecture/tauride_tavrichesky_palace_st_petersburg_russia.
10Montefiore, Prince, 520.
11Raikes, A Visit.
12Rounding, Catherine, 317.
13Geraldine Norman, The Hermitage: The Biography of a Great Museum (London: Pimlico, 1997), 44.
14Montefiore, Prince, 522.
15Ibid., 523.
16Mikhail B. Piotrovsky, The Legacy of Catherine the Great (Melbourne: National Gallery of Victoria, 2015), 17.
PART EIGHT: REACTION
CHAPTER ONE: TEARS AND DESPAIR
1Simon Sebag Montefiore, The Prince of Princes: The Life of Potemkin (London: Weidenfeld & Nicolson, 2000), 366.
2Ibid., 532.
3Virginia Rounding, Catherine the Great: Love, Sex, and Power (London: St Martin’s Griffin, 2006), 462.
4Anthony Lentin, ed. and trans., Voltaire and Catherine the Great: Selected Correspondence (Cambridge, UK: Oriental Research Partners, 1974), 268.
5Simon Dixon, Catherine the Great (New York: HarperCollins, 2009), 308.
6Asen Kirin, Exuberance of Meaning: The Art Patronage of Catherine the Great (1762–1796) (Athens, GA: Georgia Museum of Art, University of Georgia, 2013), 95.
7Ibid., 94.
8Douglas Smith, ed. and trans. Love & Conquest: Personal Correspondence of Catherine the Great and Prince Grigory Potemkin (DeKalb: Northern Illinois University Press, 2004), 389.
9Montefiore, Prince, 537.
10Smith, Love, 390.
11Ibid., 391.
12Rounding, Catherine, 464.
13Montefiore, Prince, 541.
14Ibid.
15Rounding, Catherine, 466.
16Ibid., 467.
CHAPTER TWO: A TICKING CLOCK
1John Parkinson, A Tour of Russia, Siberia and the Crimea 1792–1794, ed. William Collier (London: Cass, 1971), 23.
2Dixon, Catherine, 308.
3Vladislav Khodasevich, Derzhavin: A Biography, trans. Angela Brintlinger (Madison: University of Wisconsin Press, 2007), 160.
4Adam Zamoyski, Holy Madness: Romantics, Patriots, and Revolutionaries 1776–1871 (London: Weidenfeld & Nicolson, 1999), 84.
5Robert K. Massie, Catherine the Great (New York: Random House, 2011), 554.
6Dixon, Catherine, 309.
7Rounding, Catherine, 469.
8Dixon, Catherine, 305.
9Oleg Neverov, Great Private Collections of Imperial Russia (London: Thames & Hudson, 2004), 69.
10Wolfram Koeppe, “Gone with the Wind to the Western Hemisphere—Selling off Furniture by David Roentgen and Other Decorative Arts of the Eighteenth Century,” Canadian American Slavic Studies 43 (2009): 246.
11George Vilinbakhov and Magnus Olausson, Catherine the Great & Gustav III (Stockholm: Nationalmuseum; Saint Petersburg: State Hermitage Museum, 1998), 310.
12St. Petersburg Jewellers, 18th and 19th Centuries (St. Petersburg: Slavia, 2000), 28.
13Rounding, Catherine, 471.
14Parkinson, Tour, 54.
15Rounding, Catherine, 473.
16Parkinson, Tour, 67.
17Ibid., 73.
18UPI.com, “Louis XVI’s last words: ‘I am innocent,’” http://www.upi.com/Top_News/2006/04/08/Louis-XVIs-last-words-I-am-innocent/44251144528127/.
19Rounding, Catherine, 473.
CHAPTER THREE: WARSAW’S OURS
1Vilinbakhov and Olausson, Catherine & Gustav, 139.
2Massie, Catherine, 561
3Parkinson, Tour, 54.
4Khodasevish, Derzhavin, 161.
5Parkinson, Tour, 44.
6Rounding, Catherine, 474.
7Ibid., 475.
8Rounding. Catherine, 482.
9Charles Francois Philibert Masson, Secret Memoirs of the Court of Petersburg (New York: Arno Press and the New York Times, 1970), 159.
10Smith, Love, 393.
11Massie, Catherine, 574.
12Neverov, Great Private Collections, 24
13Johann Gottlieb Georgi, Description of the Imperial Russian Capital City of St Petersburg and the Sights in Its Environs (St. Petersburg, 1794), 336.
14Jay Winik, The Great Upheaval: America and the Birth of the Modern World, 1788–1800 (New York: HarperCollins, 2007), 357.
15Massie, Catherine, 558.
16Dixon, Catherine, 309.
17Massie, Catherine, 559.
18Dixon, Catherine, 310.
19Zamoyski, Holy Madness, 94.
20Winik, Great Upheaval, 433.
21Rounding, Catherine, 478.
CHAPTER FOUR: CATHERINE’S LIBRARY
1Yelena Barkhatova, The National Library of Russia, 1795–1995, trans. Paul Williams (St. Petersburg: Liki Rossii, 1995), 11.
2Dimitri Ozerkov, “Catherine II et les Loges de Volpato,” in Giovanni Volpato Les Loges de Raphael et la Galerie du Palais Farnese, ed. Annie Gilet (2007), 83.
3Kirin, Exuberance, 28.
4Ibid., xxi.
5Winik, Great Upheaval, 431–32.
6Inna Gorbatov, “From Paris to St. Petersburg: Voltaire’s Library in Russia,” Libraries & the Cultural Record 42 (2007): 313–14.
7Joana Pitman, The Dragon’s Trail: The Biography of Raphael’s Masterpiece (New York: Simon & Schuster, 2006), 189.
8Frank T. Brechka, “Catherine the Great: The Books She Read,” The Journal of Library History 4 (1969): 42.
9Rounding, Catherine, 477.
10Nicholas A. Basbanes, A Splendor of Letters: The Permanence of Books in an Impermanent World (New York: HarperCollins, 2003), 155.
11Yelena Barkhatova, The National Library of Russia, 1795–1995, trans. Paul Williams (St. Petersburg: Liki Rossii, 1995), 12.
12George Vilinbakhov and V. Fedorov, Catherine the Great: An Enlightened Empress (Edinburgh: National Museums of Scotland and NMS Enterprises, 2012), 59.
CHAPTER FIVE: QUEEN OF THE WORLD
1Elisabeth Vigée Le Brun, The Memoirs of Elizabeth Vigée-Le Brun, trans. Sian Evans (London: Camden Press, 1988), 160.
2Ibid., 169.
3Nathalie Bondil, ed., Catherine the Great: Art for Empire, Masterpieces from the State Hermitage Museum (Montréal: Montréal Museum of Fine Arts; Gand, Belgium: Snoeck, 2005), 234.
4Le Brun, Memoirs, 159.
5Ibid., 172.
6Ibid., 160.
7Bondil, Art for Empire, 272–73.
8Anthony Cross, ed., Russia under Western Eyes 1517–1825 (London: Elek Books, 1971), 250–51.
CHAPTER SIX: JOINED IN DEATH
1Rounding, Catherine, 483.
2Parkinson, Tour, 75.
3Rounding, Catherine, 484
4Ibid., 485.
5Parkinson, Tour, 48.
6Piervaleriano Angelini and Vanni Zanella, I disegni di Giacomo Quarenghi nella Civica biblioteca di Bergamo [videorecording] (Bergamo: Osservatorio Quarenghi, 2008).
7Nina L. Dubin, Futures & Ruins (Los Angeles: Getty Research Institute, 2010), 153. (The Louvre acquired the pendants in 1975.)
8Isabel de Madariaga, Russia in the Age of Catherine the Great (London: Phoenix Press, 2002), 576.
9Massie, Catherine, 570.
10Ibid., 571.
11Simon Dixon, “The Posthumous Reputation of Catherine II in Russia 1979–1837,” The Slavonic and East European Review 77 (1999): 651.
12Dixon, Catherine, 318.
13Ibid.
14Henri Troyat, Catherine the Great, trans. Joan Pinkham (New York: Meridian, 1994), 352.
15Rounding, Catherine, 504.
PART NINE: LEGACY
CHAPTER ONE: A SON’S REVENGE
1Vladislav Khodasevich, Derzhavin: A Biography, trans. Angela Brintlinger (Madison: University of Wisconsin Press, 2007), 161.
2Hugh Ragsdale, Tsar Paul and the Question of Madness (Westport, CT: Greenwood Press, 1988), 112.
3Ibid., 90.
4Dmitry Shvidkovsky, Russian Architecture and the West, photography Yekaterina Shorban; trans. Antony Wood (New Haven, CT: Yale University Press, 2007), 286.
5Zoia Belyakova, The Romanov Legacy: the Palaces of St. Petersburg, ed. Marie Clayton (New York: Viking Studio Books, 1995), 78.
6Robert Nisbet Bain, The Last King of Poland and His Contemporaries (London: Methuen, 1909), 174.
7Ian Wardropper, From the Sculptor’s Hand: Italian Baroque Terracottas from the State Hermitage Museum (Chicago: Art Institute of Chicago, 1998), 6.
8Inna Gorbatov, Catherine the Great and the French Philosophers of the Enlightenment: Montesquieu, Voltaire, Rousseau, Diderot and Grimm (Bethesda, MD: Academica Press, 2006), 103.
9Simon Dixon, “The Posthumous Reputation of Catherine II in Russia 1797–1837,” The Slavonic and East European Review 77 (1999): 649.
CHAPTER TWO: ART-LOVING GRANDSONS
1Ibid., 660.
2Asen Kirin, Exuberance of Meaning: The Art Patronage of Catherine the Great (1762–1796) (Athens, GA: Georgia Museum of Art, University of Georgia, 2013), 18.
3Inna Gorbatov, “From Paris to St. Petersburg: Voltaire’s Library in Russia,” Libraries & the Cultural Record 42 (2007): 318.
4David King, Vienna, 1814 (New York: Random House, 2008), 24.
5Dixon, “Posthumous,” 662.
6Ibid.
7W. Bruce Lincoln, Sunlight at Midnight: St. Petersburg and the Rise of Modern Russia (New York: Basic Books, 2012), 86.
8King, Vienna, 98.
9Nina Siegal, “In Amsterdam, a Tale of Wars, Friendship and Loves Lost,” New York Times, June 17, 2015, http://www.nytimes.com/2015/06/18/arts/international/alexander-napoleon-josephine-hermitage-amsterdam-a-tale-of-wars-friendship-and-loves-lost.html.
10Natalya Gritsay and Natalya Babina. Seventeenth- and Eighteenth-Century Flemish Painting, State Hermitage Museum Catalogue (New Haven, CT, and London: Yale University Press, 2008), 452.
11Oleg Yawein, The Hermitage XXI: The New Art Museum in the General Staff Building, ed. Georgi Stanishev with contributions by Mikhail Piotrovsky et al.; photography by Will Pryce (London: Thames & Hudson, 2014), 28.
12C. M. Kauffmann, revised by Susan Jenkins with contributions from Marjorie E. Wieseman, Catalogue of Paintings in the Wellington Museum (Apsley House English Heritage and Paul Holberton, 2009), 17.
13King, Vienna, 4.
14Ibid., 26.
15Barbara Maranzani, “5 Romanovs You Should Know,” history.com, Feb. 21, 2013. http://www.history.com/news/5-romanovs-you-should-know.
16Dixon, “Posthumous,” 666.
17Oleg Neverov, Great Private Collections of Imperial Russia (London: Thames & Hudson, 2004), 80. (Levitsy’s portrait is now at the Tretyakov Gallery, Moscow.)
18Yawein, Hermitage XXI, 35.
19Richard S. Wortman, Scenarios of Power: Myth and Ceremony in Russian Monarchy, vols. 1 & 2 (Princeton, NJ: Princeton University Press, 1995), 316.
20The State Hermitage Guide, eds. Irina Kharitonova and Irina Lvova (St. Petersburg: P-2 Art Publishers, 2010), 13.
21Neverov, Great Private Collections, 25.
22Robert C. Williams, Russian Art and American Money (Cambridge, MA, and London: Harvard University Press, 1980), 152.
23Olga Neverov and Dmitry Pavlovich Alexinsky, The Hermitage Collections: Volume I: Treasures of World Art (New York: Rizzoli, 2010), 29.
24Irene Pearson, “Raphael as Seen by Russian Writers from Zhukovsky to Turgenev,” The Slavonic and East European Review 59 (1981): 347.
25Neverov and Alexinsky, The Hermitage: Treasures of World Art, 24.
26Ibid., 36.
27Irina Artemieva, “The Sources of Italian Renaissance Paintings in the Hermitage,” in Florence and Venice: Italian Renaissance Paintings and Sculpture from the State Hermitage Museum, ed. Kokuritsu Seiyo Bijutsukan (Tokyo: National Museum of Western Art, 1999), 241.
28Gritsay and Babina, Seventeenth- and Eighteenth-Century Flemish Painting, 481.
29Neverov and Alexinsky, The Hermitage: Treasures of World Art, 39.
30Rosalind Polly Gray, Russian Genre Painting in the Nineteenth Century (Oxford: Oxford University Press, 2000), 19.
31Irina Sokolova, “Hermitage: Known and Unknown” (paper presented at the International CODART Symposium, Rijksmuseum Amsterdam, October 14–15, 2013).
32Neverov and Alexinsky, The Hermitage: Treasures of World Art, 31.
CHAPTER THREE: THE END OF THE LINE
1Gorbatov, Catherine, 105.
2Mikhail B. Piotrovsky, The Legacy of Catherine the Great (Melbourne: National Gallery of Victoria, 2015), 11.
3Wortman, Scenarios, vol. 2, 120.
4Ibid., 126.
5Wortman, Scenarios, vol. 2, 127.
6Ibid., 128.
7Gray, Russian Genre Painting, 26.
8Natalya Semyonova and Nicolas V. Iljine, eds., Selling Russia’s Treasures (New York: Abbeville Press, 2013), 350.
9Anne Odom, What Became of Peter’s Dream? (Middlebury College Museum of Art in association with Hillwood Museum & Gardens, 2003), 17.
10Scott Reyburn, “Who’s Rich Enough for a Picasso?” The New York Times, June 12, 2015. http://www.nytimes.com/2015/06/15/arts/international/whos-rich-enough-for-a-picasso.html?_r=0.
11Anne Odom and Wendy R. Salmond, eds., Treasures into Tractors: The Selling of Russia’s Cultural Heritage, 1918–1938 (Washington, DC: Hillwood Museum & Gardens, University of Washington Press, 2009), 9.
12Ibid., 11.
13Catherine Merridale, Red Fortress: History and Illusion in the Kremlin (London: Picador, 2013), 297.
14Ibid., 39.
15Ibid., 42.
16Odom and Salmond, Treasures, 276.
17Ibid., 283.
CHAPTER FOUR: RAIDING THE HERMITAGE
1Ibid., 16.
2Rona Goffen, Museums Discovered: The Calouste Gulbenkian Museum (New York: New York Graphic Society, 1982), 4.
3Semyonova and Iljine, Selling Russia’s Treasures, 263.
4Goffen, Museums Discovered, 3.
5John Walker, Self-Portrait with Donors; Confessions of an Art Collector (Boston: Little, Brown and Company, 1974), 132.
6David Cannadine, Mellon: An American Life (New York: Knopf, 2006), 425.
7Semyonova and Iljine, Selling Russia’s Treasures, 138.
8Ibid., 141.
CHAPTER FIVE: PRESERVATION
1Anna Reid, Leningrad: The Epic Siege of World War II, 1941–1944 (New York: Walker & Co, 2011), introduction.
2Nina Vernova et al., The Imperial Residences around Saint Petersburg: Peterhof, Tsarskoye Selo, Pavlovsk, Oranienbaum, Gatchina, trans. Paul Williams (St. Petersburg: Alfa-Colour Art Publishers, 2003), 230.
3Audrey Kennett and Victor Kennett, The Palaces of Leningrad (London and New York: Thames & Hudson, 1973), 243.
4Will Black, “Tsarist Treasures Reborn,” World Monument Fund (Spring 2003).
5Rem Koolhaas, “The Hermitage: Masterplan 2014,” www.oma.eu/lectures/the-hermitage-masterplan-2014/.
6Jordana Pomeroy et al., Women Artists from the State Hermitage Museum (London: Merrell, 2003), 17.
7Elisabeth Vigée-Le Brun, The Memoirs of Elisabeth Vigée-Le Brun, trans. Siân Evans (London: Camden Press, 1989), 158.
8Nathalie Bondil, ed., Catherine the Great: Art for Empire, Masterpieces from the State Hermitage Museum (Montréal: Montréal Museum of Fine Arts; Gand, Belgium: Snoeck, 2005), 176.