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THE STATE

RUSSIAN
MUSEUM
 THE STATE

RUSSIAN
MUSEUM

Guide

Iii

I
P - 2 PUBLISHERS

ST. PETERSBURG , 2016

 Introduction by
Vladimir Gusev

Texts:
V. Gusev, E. Petrova
OLD RUSSIAN ICON -PAINTING . 12th - 17th CENTURIES:
T. Vilinbakhova
18TH-CENTURY PAINTING :
S. Moiseyeva
SCULPTURE OF THE 18th - 19th CENTURIES :
E. Karpova
PAINTING OF THE FIRST HALF OF THE 19th CENTURY:
S. Moiseyeva, E. Shilova
PAINTING OF THE SECOND HALF OF THE 19th CENTURY:
P. Klimov, G. Krechina, S. Kri vondenchikov, V. Kruglov,
E. Shilova
PAINTING OF THE LATE 19th - EARLY 20th CENTURIES:
I. Verkhovskaya, P. Klimov, G. Krechina, V. Kruglov, N. Solomatina,
Yu . Solonovich, T. Chudinovskaya, L. Shakirova, E. Shilova,
SOVIET PAINTING :
A. Dmitrenko, T. Chudinovskaya

Museum's Branches
THE MARBLE PALACE:
E. Kochetova
THE STROGANOV PALACE:
S. Kuznetsov
THE MIKHAILOVSKY CASTLE:
Yu. Kuzmina
THE SUMMER GARDENS:
N. Kareyeva

Designed by
A. Lobanov

SECOND REVISED EDITION

Cl State Russian Museum, 2009

C P-2 Publishers, St. Petersburg, 2016

0 A.V. lovanov: make-up and design, 2016

Contents

8
INFORMATION ON THE MUSEUM

13
THE HISTORY OF THE MUSEUM

21
OLD RUSSIAN ICON-PAINTING.
12th - 17th CENTURIES

39
18th-CENTURY PAINTING

53
SCULPTURE OF THE 18th -
19th CENTURIES

63

PAINTING OF THE FIRST HALF

OF THE 19th CENTURY

85

PAINTING OF THE SECOND HALF OF THE

19th AND EARLY 20th CENTURIES

123
PAINTING OF THE 20th CENTURY
IN THE BENOIS BLOCK

155
MUSEUM'S BRANCHES

172

INDEX
s Information on the museum ,..
TR INITY
PETER
0 The State Russian 0 Summer Gardens
Museum and the Summer
4/2 lnzhenernaya ulitsa. Palace of Peter I
TEL.: 585-42-48 TEL.: 585-42-48. OPEN:
OPEN: 10.30 a.m. - 6 p.m. Mondays: 1O a.m. - 4 p.m.;
CLOSED: Tuesdays Wednesday- Sunday:
Ticket offices are closed 10 a.m. -5 p.m. CLOSED:
an hour earlier Tuesdays. TRANSPORT:
TRANSPORT: Nevsky Nevsky Prospekt and Gostiny
Prospekt and Gostiny Dvor Dvor metro stations
metro stations
O Marble Palace
5/ 1 Millionnaya ulitsa
8 Mikhailovsky TEL.: 585-42-48
Castle OPEN: Mondays: 10 a.m. -
2 Sadovaya ulitsa 4 p.m .; Wednesday - Sunday:
TEL.: 585-42-48 10 a.m. - 5 p.m.
OPEN: 10.30 a.m. - 6 p.m. CLOSED: Tuesdays
CLOSED: Tuesdays TRANSPORT: Nevsky
TRANSPORT: Nevsky Prospekt and Gostiny Dvor
Prospekt and Gostiny Dvor metro stations
metro stations
V
EMBANKMENT
. h;,~ .
J.. ~ I ,I.\ ••,]Jill' 'l
•_;.'..:."·~ .., . .
0 Stroganov
Pa pace
17 Nevsky Prospekt
TEL.: 585-42-48
OPEN: 10.30 p.m. - 6 p .m.
CLOSED: Tuesdays
TRANSPORT: Nevsky
Prospekt and Gostiny Dvor
metro stations
0 Log Cabin
of Peter the Great
Address: 6 Peter Embankment
PHONE: 595-4248. OPEN
DAILY, from 10 am to 6 p.m.
(on Thursdays, from 1 p.m. to
9 p .m .), closed on Tuesdays
PUBLIC TRANSPORT:
Gorkovskaya Metro Station
 Exhibitions of the Russian ART OF THE 9
18th CENTURY
Museum
WHITE HALL

ART OF THE FIRST HALF

OF THE 19th CENTURY

9 8
11 10

71 70 69 68 67 66 1 2 3
72r 88 87
85
73 91
74 84

75 92 83
1st FLOOR
~

76 94
77 78 79 80 81 82

OLD RUSSIAN ICON-

PAINTING

DECORATIVE AND APPLIED

ART OF THE 20th CENTURY
ART OF THE
20th CENTURY

'Q<c,~ o'" ~o
r,',\
~
33 32
31 g 29 ~ 27
26 25 24

~·+\~~
'Q\;
~Y.\,vO
~~
34 23

35 22
18 19
107108 109 47 '# ~: ; r:; ; 40 ~ 37 38 20
36 21
48 49
106 54

10 5
GROUND FLOOR
104 103 102 101

EXHIBITIONS

ART OF THE SECOND

HALF OF THE 19th AND
EARLY 20th CENTURIES

FOLK ART
 THE RUSSIAN MUSEUM
13

CARL BEGG ROW. View of the Mikhailovsky Palace in St. Petersburg . 1832

Histori of the Museum

St. Petersburg, a city founded ny the will of Emperor Peter I in

1703, even now empresses one with its majestic beauty. Its pal-
aces and architectural ensembles are distinguished with their
compositional wholeness and severe and at the same time charm-
ing outlook. The Mikhailovsky Palace can be considered as one of
the most precious pearls in the architectural necklace of the city.
Now, the Russian Museum, the world's largest repository of Rus-
sian art, is situated there. From a historical point of view the Muse-
um is rather young: it is slightly more than one hundred years old.
The palace is considerably ilder, for its construction was completed
in the mid-1820s.

Portal of the sky-lit Academic Hall

 Mikhailovsky Palace
The first owner of the Palace
was the youngest, the fourth, son
of Emperor Paul I, Grand Duke
Mikhail Pavlovich, hence its name
- the Mikhailovsky Palace. Just
after the birth of the Grand Duke,
in 1798, Paul I ordered to deposit
every year a certain sum of money
in benefit of his son . When the
sum became as large as 9,000,000
roubles, the construction of a
residence for Grand Duke Mikhail
Pavlovich began. The project eas
entrusted to Carlo Rossi (1777 -
1849). In 1819 - 1825 he created
an impressing ensemble consisting
of a palace and a square in front
of it. Quite a few architectural
monuments created at the peak
of the style of Empire have come
up to us not only in Russia but in
Europe as well. The Mikhailovsky
Palace is one of them. ''This palace
is an indisputable triumph of
modern architecture ... and not
only surpasses everything what
can be seen in Tuilleries and othe
royal palaces of the continent but
14
is absolutely unique in its kind",
wrote an English traveller who
visited Russia in 1826. (Cited from
A.V. Polovtsov, A Walk through the
Russian Museum of Emperor Alex-
ander Ill in St. Petersburg, Moscow,
1900, pp. 5, 6.)
Exterior appearance of the main
building and the western block
has come to our days practically
unchanged. Some of their interior
can also give a representation of
the architect's conception and his
talent. Everybody is impressed with
the magnificent main entrance
hall with a wide staircase that
bifurcated leading to the gallery
on the first floor with its grandiose
eighteen columns of the Corinthian
Order as well as with the state
enfilade running along the whole
perimeter of the first floor. The
centre of the enfilade is the White
Hall with its astonishingly balanced
composition and decor. It is a
unique palace interior in St. Pe-
tersburg dating from the first
quarter of the 19th century where
not only painting and sculptural
decor but the authentic furniture
White Hall
made after Rossia design are
intact. One can also find authentic
elements of decor in other rooms
of the enfilade too. Among them
are: the ceiling painting in the first
drawing-room (room No 18, G.-B.
Scotti) made in grisaille technique;
the caryatides flanking the door
of the room No 16 (5. Pimenov)
and grisaille ceiling painting (G.-B.
Scotti); the female heads in high
relief (5. Pimenov) and bas-reliefs
on the themes of Ancient Rome
(V. Demuth-Malinovsky) in the
drawing-room ajacent to the Whire
Hall (room No 12). The rest of the
interiors were subject to changes
as a result of numerous alterations
introduced in the 1830s (architects,
A. Stackenschneider and H. Bosse).
The "pre-museum" period in the
history of the Mikhailovsky Palace
began in 1825, when its owner and
his family - Grand Duke Mikhail
Pavlovich and his wife, Grand
Duchess Yelena Pavlovna (nee
Fredericke-Charlotte-Marie of Wur-
temberg) - moved there. The first
decades of the existence of the
newly-built palace were marked
with resplendent balls given there
by the dukal coulpe.
After the death of the Grand Duke
in 1849 the period of salons of
Yelena Pavlovna with their atmo-
sphere of comfort and refined aris-
tocratism began. Many capital and
foreign celebrities, public figures,
politicians, scientists and popular
writers met there. Musical classes
were organized in the premises
of the Mikhailovsky Palace, which
later served as the basis to the first
conservatoire in Russia. The great
Tchaikovsky received his initial
musical education in these classes.
It was in one of the Palace's room s,
probably in the Dancing Room or
in the Big Dining-room, when on
November 27, 1865, he firstly con -
ducted his erly overture F-dur.
In 1873 Grand Duchess Yelena Pav-
lovna died. During the following
two decades the Palace seemed to
be immersed into catalepsy. The
life of its permanent residents was
centred in its more comfortable
side wings while its central part
was turning into a kind of a memo-
rial and slowly dilapidated.
15

Museum
On April 13, 1895, Emperor Nicho-
las II signed an ukase No 420 "On the
establishment of a special institu-
tion under the title of the Russian
Museum of Emperor Alexander Ill
and the allotting for this purpose the
acquired by the state Mikhailovsky
Palace together woth its wings,
service blocks and the garden." Three
years later, on March 7, 1898, the
doors of the palace opened before
the first visitors to the first in Russia
state museum of national art.
The idea of creationg of a public Rus-
sian museum where national visual
arts wpould occupy a worthy place
emerged in enlightened circles of
Russian society long before theEm-
peror's ukase. It was stirred up by
the meeting of the two factors: the
patriotic aspirations of democratical-
ly-minded Russian society and the
desire of Alexander Ill who, according
to official legend, was reputed to be
16
Emperor
Alexander Ill
a connoisseur and patron of Russian
national art. The Russian landscape
painter Alexei Bogoliubov who
greatly influenced the artistic taste of
the Emperor recollected : ""is Majesty
suddenly said to me,' ... I often and
seriously think of the necessity of the
establishing in St. Petersburg a
museum of Russian art. Moscow
has a private but wonderful gallery
ofTretyakov which, as I heard, he
bequeathed to the city. But we here
have nothing of this kind."' (Cited
from A.V. Polovtsov, A Walk through
the Russian Museum ... , p. 7.)But in
order to convert a palace into a mu-
seum the emperor's ukase was not
enough. It was necessary not only
to repear and reconstruct seriously
damaged premises, but to combine
the palace splendour and its origi-
nally unenvisaged new functions. The
architect Vasily Svinyin (1865 - 1939)
was entrusted with this uneasy com-
mission. The young and ambitious
architect, intending to create 'a
Russian Louvre', was much blamed
ny his contemporaries for the radical
changes he introdused to the original
conception of Rossi. At the same time
there were quite opposite opinions
as well. But the historical truth is
somewhere in the middle, of cource.
Everybody was to argee, however,
that the reconstruction introduced
by Svinyin did not prevent the palace
to becoma a truly precious setting for
no less precious collections.
Initially the collection of painting,
sculpture, graphic works and objects
of applied arts was not large, totalling
about 1,500 items by the moment of
the opening of the museum, while
the collection of Christian antiquities
consisted of about 5,000 pieces. To-
day, when the Museum's collection
Sky-lit Academic Hall
numbers as many as about 400,000
exhibits, this number might seem
more than modest, but for those
days it was considered to be rather
sound .
There were not any sources to aug-
ment musuem collections in those
days. The new museum received
from the Hermitage practically its
w hole gallery of pictures of Russian
painters as well as part of the collec-
tion of drawings, watercolours and
sculpture. The museum of the Acad-
emy ofArts transferred its collection
of painting, sculpture, watercolours,
drawings and engravings to the
Russian Museum. The Academy
al so transferred there its Museum
of Christian Antiquities containing
many valuable pieces of religious art.
Nicholas II bought the collection of
Prince Alexander Lobanov-Rostovsky
from his heirs and then donated it
to the Russian Museum. Princess
Maris Tenisheva gave to the Museum
a significant part of her enormous
co llection of watercolours and draw-
ings by Russian artists. And, at last,
a weighty donation to the Museum
became the private collection of Al-
exander Ill from the Alexander Palace
in Tsarskoye Selo (the artworks from
the Anichkov Palace in St. Petersburg
entered the Museum much later).
For the first decade of the Museum's
existence the number of its items
doubled. After the Museum received
the vast collection of Russian and
Greek icons of the famous Russian
historian and collector Nikolai Likh-
achev the department of Christian
antiquities was significantly enlarged,
what made it possible, in 1914, to
turn it into the Repository of Monu-
ments of Russian lcon-painteing and
Church Antiquities. It was the largest
state collection of icons in Russia at
that time. The most valuable part of
'the Pliushkin museum' owned by
the honorable citizen of Pskov the
merchant of the first guild Feodor
Pliushkin was also added to the Rus-
sian Museum.
But only beginning from 1909 it
became possible to refer to the mu-
seum as a real museum of Ruissian
art, when the artist Piotr Neradovsky
was appointed its curator. In the
course of two decades he managed
to unite separate collections into an
integral whole, to systematize them
and purposefully enlarge.
The period between the late 1901 Os
and early 1920s was characterized
with the rapid growth of museum
collections elsewhere. The Russian
Museum was not an exception. The
artworks from the tsar's and grand
dukes' palaces (the Winter, Anichkov,
Gatchina and Marble Palaces) and the
Academy of Arts significantly aug-
mented its collections. Musem funds
17
 Exhibition of Old Russian icon-painting
were often distributed; the Hermit-
age, Russian Museum and the Tretya-
kov Gallery sometimes interchanged
with their exhibits. The State Museum
Fund played a significant role in such
interchanges in 1921 to 1928. In 1926
artworks of the first quarter of the
20th century from the museum at the
State Institute of Artistic Culture were
transferred to the Russian Museum.
The laid the foundation of the world 's
largest collection of Russian avant-
garde art.
Initially the expositions of the Russian
Museum were arranged haphazardly.
The walls of many rooms were almost
entirely hanged with picture of quite
different artistic quality. The impres-
sion of randomness was even more
aggravated in the rooms where the
collections donated by private collec-
tors were on display. First-class works
were put side by side with mediocre
ones and they often were not linked
either stylistically or chronologically.
The White Hall was devoted to the
Memorial Department of Emperor
Alexander Ill. In the second half of
the 1920s, under Piotr Neradovsky,
work began on the chronological
arrangement of the exhibitions which
was to reflect the development of
Russian art.
For the first time in the basis of
the exhibitions the historical and
chronological principles were laid,
18
besides, when it was possible, the
monographical principles were taken
in consideration as well. This new
arrangement of exposition made the
artist Alexander Benois to exclaim:
"In the world there is no equal na-
tional museum!"
The exhibition area of the Mu-
seum gradually increased. With
this purpose the western wing of
the Mikhailovsky Palace, where the
apartments of some staff members
and service premises were situated,
was given to the Museum. Besides,
in the early 1930s, the Museum
received at its disposal the so-called
Benois Block. The design for this
building was made in 1910 - 1912
by the architects Leonty Benois and
Sergei Ovsiannikov. Initially it was
intended to house exhibitions of
various artistic units. Its foundation
stone was laid on June 27, 1914, but
the World War I halted the further
construction works. The construction
was completed in 1919 only. After
the block was given over to the Rus-
sian Museum, there were organized
rooms for temporary exhibitions and
for permentent exhibitions of art of
the late 19th - early 20th centuries
and soviet art.
At the turn of the 1930s a time of
changes started for the Museum.
In 1934, its Ethnographic Depart-
ment was transformed into the State
Exhibition of art of the 20th century
Musem of the Ethnography of the
Peoples of the USSR. The Memorial
Department of Emperor Alexander Ill
whic as early as in 1918 was reorga-
nized into a department ofthe his-
tory and mode of life, later was partly
transferred to the Hermitage.
During the Great Patriotic War (1941
- 1945) thanks to the heroic efforts
of quite a handful of museum of staff
members who stayed in the besieged
Leningrad the museum treasures
practically did not suffer. The most
precious part of the collections was
transported to the rear while the rest
part was safely hidden in the base-
ments of the palace. In the course of
the war the architectural ensembles
of the Museum suffered from bomb-
ing and shelling. Totally more than
40 shells and about 100 fire and
demolition bombs were dropped on
t he territory of the Museum. Four of
them, weighting from 400 to 500 kg
each, hit the palace foundation and
broke the water supplying system.
It was the Benois Block that suffered
most heavily. Nevertheless the Mu-
seum 's collections continued to aug-
ment even under these conditions.
Many works of art that remained in
abandoned or ruined houses found
shield within the Museum's walls.
On October 14, 1945, the special train
with the Museum's treasures which
had earlier been evacuated arrived in
Leningrad. And as early as on
May 9, 1946, on the first anniversary
of the Great Victory, the rooms on the
ground floor of the Mikhailovsky Pal-
ace received visitors. In the autumn
of the same year the rooms on the
first floor were opened for visitors
too. In the course ofthe last decades
great changes took place in the
Museum's life. Now the Museum has
five palaces of St. Petersburg at its
disposal. Their restored rooms house
temporary and permanent exhibi-
tions. The Mikhailovsky Garden, also
given to the Russian Museum, after
restoration will be turned into a kind
of a museum in the open air where
bronze copies of works of Russian
sculptors of the 18th and 19th sculp-
tors are to be installed there.
At present, the Russian Museum is
carrying out the all-embracing res-
toration programme including both
the restoration of its 'old' premises
and newly-received as well. After the
realisation ofthe programme the
unique architectural ensemble and
artistic centre by the name of the
Russian Museum will be created in
the historical centre of St. Petersburg .
19
 THE RUSSIAN MUSEUM
21

....
1st FLOOR

Old Russian icon-painting.

12th - 17th centuries

Russian icon-painting belongs with the highest achievements of

Russian national culture. The spiritual ideals of the medieval Russia
found there most complete expression. The origin of icon-painting
in Russia dates back to the 10th century, the period of the Baptism
of Rus, with Byzantium being its spiritual mentor and its iconogra-
phy served as the source of inspiration and imitation. The collec-
tion of icons in the Russian Museum is one of the largest in Russia .
Its more than 5,000 items give a full representation of the history of
Russian icon-painting in the course of 700 years. Even to-day they
are a source of profound philosophic contemplations and artistic
inspiration for many contemporary artists. The bulk of the collec-
tion comprises the icons of the 12th - 17th centuries originating
from such centres of icon-painting as Novgorod, Moscow, Pskov,
Tver, Yaroslavl and Vologda, works of so-called Stroganov school
and the Armoury of the Moscow Kremlin as well as icons of sepa-
rate provincial icon painters. The collection boasts with a number
of sets of monuments from such venerable places as the St. Cyril
of Belozersk Monastery, St. Therapontus Monastery, St. Alexander
of Svirsk Monastery, Solovetsky Monastery and others. On exhibi-
tions there are most significant items of icon-painting from the
Museum's collection.

The icon of St. George and the Dragon

 0 L D RU SSI A N I C O N • P A I N T I N G • 12th - 17th C EN T U RI ES
22

This icon is the most ancient in the

Archangel Gabriel
(Golden Hair)
12th century. Gesso ground and tempera
on panel (linden). 48 x 38.8 cm. AP>K-2115
Museum's collection . The complicated
technique of execution, the highly
inspired image with Oriental features
and wide eyes betray a strong influ-
ence of Byzantium. The representation
impresses one with its monumentality
what was characteristic for the art of
the pre-Mongol period in general. Icons
of Archangel Gabriel were included,
along with the images of Archangel
Michael, into the Deisis Tier of the
iconostasis.The main idea of the tier
is the intercession of the Mother of
God, archangels and saints with Christ
on the Doomsday. The icon of the Arch-
angel Gabriel might be initially part of
such a composition.

Apostles Peter and Paul

First third of the 13th century. Tempera
on panel. 139.4 x 90 cm. AP>K-2095

These apostles are called the Prime

Apostles for the great role they played
in preaching Christianity and erection
of the Church of Christ. It was Peter to
whom Christ addressed: "And I tell you,
you are Peter, and on this rock I will
build my church and the powers
of death shall not prevail against it.
I will give you the keys of the kingdom
of heaven ... " (Mt 17:18, 19). Since the
key became an attribute of Apostle
Peter. Paul came to the Gospel and
became a hot gospeller after the
crucifixion of Jesus Christ. That is why
he is traditionally depicted holding the
Gospel. The apostles on this icon that
ha s come from the Sts Peter and Paul
Church in Belozersk are represented hands are also similar. Above them,
frontally, dressed in similar chitons and Christ blessing is depicted.
himations, and the gestures of their
 0 L D R U SSI A N I CO N - P A I N T I N G . 12th - 17th C EN T U RI ES
23

The pantheon of Byzantine saints

accepted by Old Rus after her baptism
was soon added with Russian holy men.
The first amon them were Boris and
Gleb, sons of Grand Prince Vladimir
of Kiev who baptized Rus. In 1015
they were treacherously assassinated.
In 1072 they were canonized as
Russian saints. Sts Boris and Gleb were
venerated as patrons and defenders
of the newly-baptized Rus, "hope and
support of Russian land, her two-edged
swords."
This icon is one of the earliest among
the icons of holy princes that have
come to us. Its refined colour range,
graceful postures and elegant lines
betray a hand of a brilliant master from
the Moscow school of icon-painting, an
expert in the best works of Byzantine
Sts Boris and Gleb art of the time.

Second halfof the 14th century. Moscow

Tempera on panel. 143 x 95 cm. AP>K-2 11 7

Prophet Samuel
Ca 1112. Kiev.
Fresco. 11 8 x 95 cm. AP>K-2112

It is one of few fragments of frescoes

from the Archangel Michael Cathedral
in the Mikhailovsky Golden-Domed
Monastery in Kiev. Prince Sviatopolk
(christened as Michael) laid the founda-
tion of the cathedral in 1108 in com-
memoration of a victory over Polovtsy.
The rich decor of the cathedral with
its mosaics and frescoes created by
both Greek and Russian masters is the
evidence of high achievements of art in
Kievan Rus.
 0 L D RU SSI A N I CO N - P A I N T I N G •
24
Mother of God Eleusa
(Belozersk)
First third of the 13th century. Novgorod school.
Tempera on panel. 155 x 106.3 cm. P>K-211 6
After the baptism of Rus in the
10th century the image of the Mother
of God became most favourable among
Russian icon painters and they devel-
oped many types of her image. Most of
them derive from Byzantine originals.
One of the most popular images is
the representation of the Mother of
God holding her child who is tenderly
clinging to her. In Byzantium this type
of icon was known as 'the Mother of
God Eleusa '.
This type of icons as well as the Vladimir
icon of the Mother of God are the most
ancient in Russia. The half-figured rep-
resentation of the Virgin is majestic, her
enormous eyes are full of mourning.
12th - 17th CEN T U RI ES
The figure of Christ-Emmanuel sitting in
her arms is inscribed into the contours
of the figure of the Virgin, their haloes
merged into one whole, they are one
and inseparable: the Mother-Church
and its Lord Jesus Christ. The angels in
the round medallions in the upper cor-
ners of the cut-back central portion of
the icon are depicted worshiping them .
The naked flesh of the Infant Christ is
allusive to the eucharistical sacrifice, the
Lamb of God. On the blue borders of
the icon, in round medallions, Old Testa-
ment prophets are represented.
The icon was found in the 13th century
in Belozersk (hence its name), the for-
mer capital of a separate principality.
Judging by its large size and the high
mastership of execution it might be one
of the main object of worship in the old
Belozersk.
 0 LD RU S S IA N ICO N- PA I N T I N G .
The Saviour of the Fiery Eye
Late 14th - early 15th century. Moscow.
Tempera on panel. 107 x 77.5 cm. .QP)K- 1889
The focus of the representation is the
face of Christ with demanding and
severe expression of his eyes. Later,
the Old Beli evers will call this image as
the Saviour of the Fiery Eye. Behind the
Saviour's head, the cross is depicted as
a reminding of t he Crucifixion and the
victory over death . The icons of such a
type have Byzantine roots and became
spread in Russian icon-painting from
the late 14th century.
Sts John of the Ladder,
George and Blasius
Second halfof the 13th centu ry. Novgorod.
Tempera on panel. 109 x 67 cm. .QP)K-2774
12th - 17th CEN T U RI ES
25
In the icon are represented Byzantine
saints who were widely revered in Rus,
and especially in Novgorog. The image
of St. John the Ladder (6th century) is
put in the centre. He lived at Sinai as a
hermit for many years and wrote the
treatise The Ladder of Paradise (hence
his name). St. Blasius, the bishop of Se-
baste (9th century), and St. George the
Victorious (executed in 30) are standing
by his sides.
The fact that the figure of St. John is
larger than the rest may be explained
by a supposition that the customer of
the icon might be of the same name.
The figures of the saints are outlined
with rigid and angu lar lines, and their
faces are modelled with sure and rich
brushstrokes what imparts the images
with spiritual might. This style of pa int-
ing is peculiar for the Novgorod school
of icon-painting .
 0 L D RU SSI A N I CO N - PA I N T I N G • 12th - 17th C EN T U RI ES
26

This is the earliest of Russian icons with a

depiction of St. George that has come to
us. In the centre of the icon, is a depiction
of one of the saint's moraculous deeds -
the victory over the dragon and rescue of
a princess and the city of Racley. The saint
is sitting on the horseback, with a spear
in his hand, while the princess Elisava is
leading the timed dragon with her belt.
In the upper right a tower symbolizing
the rescued city with its inhabitants is
depicted. The central part of the icon is
surrounded with four hagoographical
border scenes. Each one is accompanied
with an explanatory text what makes
them resembling book illuminations.
The scenes represent mainly the martyr-
doms of St. George testifying his spiritual
strength and devotion to Christianity.
St. George and the Dragon
First half of the 14th century. Novgorod.
89 x 63 cm. Tempera on panel. APIK-2118

Miracle of the Icon of the

Virgin Mary of the Sign
(Battle of Novgorodians and
Suzdalians)
Early 14th century. Novgorod. Tempera on
panel. 87.8 x 63 .8 cm. APIK-2129

The icon represents a historical event:

the miracle rescue of Novgorod from
the invasion of Suzdalians in 1170. In the
upper tier there is depicted the praying
before the icon of the Virgin Mary of the
Sign, the carrying it out of the Church
of Our Saviour-on-the-Marketplace,
the icon-bearing procession along the
Volkhov River to the Detinets (Kremlin)
where it was met by the citizens. The
middle tier represents the ambassadors
from Novgorod and Suzdalians shooting
arrows to the icon put on the wall of gripped with horror, began to beat each
the Kremlin . The lower tier features the other, while the Novgorod army led by
victory of Novgorodians. After an arrow holy warriors is victoriously riding out
had hit the icon the Mother of God of the city.
began to cry. Seeing this the Suzdalians,
 0 LD RU S S I A N ICO N - P A I N T I N G . 12th - 17th C EN T U RI ES
27

The subject of St. George and the Dragon

St. George and the Dragon
Last quarter of the 15th century. Novgorod.
Tempera on panel. 58.5 x 42 cm. AP)K-2 123
developed into an indepentent theme
in Christian art. It has become one of the
most favourable subjects of Russian icon-
painting. In spiritual verses existing in
Russia the image of the saint is associated
with the idea of the warrior's deed and
the salvatory power of Christian faith.
The icon belongs with a number of the
most brilliant samples of icon-painting
of the Novgorod school of painting in its
peak. The colour range is bright and built
on contrasts. The red colour, the colour of
the martyr's blood, faith and the victory
over death, the green and white colours,
the colours of the Divine Wisdom and
Holy Spirit, emerge into one cheerful
accord. The black colour, the colour of
death and evil, opposes to them. Thus
an episode from the life of the saint is
transformed into a high symbol of the
inevitable and predeterminated victory
of good and faith over evil forces.

Holy Doors
Late 15th - early 16th century. Novgorod.
Tempera on panel. 110 x 40.5 cm (left wing),

110 x 41 cm (right wing), 56.5 x 45 cm (top parts,

each). AP)K-2661

The doors initially were in the St. Nicho-

las Church in the village of Gostinopolye
near Novgorod the Great. The Holy
Doors is the main entrance to the altar
and are situated in the centre of the
iconostasis, opposite the Holy Throne.
The Doors is called "Holy" or "Royal" in
honour of the King of Glory Jesus Christ.
Christians believe that in the course of
the liturgy Christ mysteriously enters
the altar through it. The representations
on the doors reveal its symbolic mean-
ing. In the upper part, the Annunciation
is depicted and below, the images of the
authors of the Litugy, Sts John Chrysos-
tom and Basil the Great, are placed, with
the scrolls with liturgical texts in their
hands.
Another random document with
no related content on Scribd:
advertising, it rested entirely upon its reputation.” “Our
correspondence,” he added, “is enormous, employing six
typewriters.” He took me to the erecting floor of the shop. I was filled
with amazement and delight at the sight which met my eyes. This
floor, which had been greatly enlarged, was crowded with large
engines in process of completion, most of them larger and some a
great deal larger, than the largest I had built. I confess to a feeling
bordering on ecstasy, heightened of course by the suddenness of
the relevation, when I realized the commanding height to which the
Porter-Allen Engine had been raised by this remarkable man. Mr.
Brooks offered to take me through the shops; this however I
declined, not being willing to trespass further on his time. He showed
me the old shop engine which I had not seen for twenty-three years.
Everything looked familiar except its speed. He said to me, “we have
never done anything to this engine, except to increase its speed from
230 revolutions to 300 revolutions per minute, to supply the
additional power required by the growth of the business.” Respecting
their system, he mentioned only one feature, which he evidently
regarded as of special importance, and which he seemed to suppose
would be new to me. It was this: “We make a separate drawing of
every piece.”
Under date of Oct. 31, 1907, Mr. Brooks writes me, “the business
now employs ten typewriters, and the engine which was started in
1881, and which has run at 300 revolutions per minute for the last
seven years, has now been compelled by their increased
requirements to give place to a compound condensing engine of
more than twice its power.”

Three or four years ago I was spending a few days at the Mohonk
Lake Mountain House, Mr. Albert K. Smiley’s famous summer resort,
and one day strolled into the power house, where were three
dynamos, each driven by a Ball & Wood engine, the latter making, I
think, something over 200 revolutions per minute.
I fell into conversation with the engineer, rather an old man and
quite communicative. He told me he had been in Mr. Smiley’s
employ for seventeen years, and was voluble in his praises; said he
was a wonderful man, repeating “wonderful” with emphasis, but he
added “he don’t know nothin about machinery, nothin, no more’n you
do.” My attention was attracted by the dynamos, which were new to
me and the framing of which I thought presented a remarkably well
studied design.
I mentioned this to the old man, who replied impatiently: “O, that
aint nothin, the engine is the wonder, that’s the wonder; why, when I
was a young man we did not suppose an engine could be run more’n
about fifty or sixty turns a minute, nobody never thought o’ such a
thing; now we can run ’em any speed we like, no poundin, no shakin,
no heatin, it’s just wonderful.” I did not respond or show any interest,
and the old man did not waste any more enthusiasm on me. Did not
say a word when I left directly after, but I fancied him saying to
himself: “Another o’ them stuck ups, that don’t know nothin’.”
 Transcriber’s Notes
The text of this document follows that of the source;
inconsistent spelling and hyphenation have been
retained, except as mentioned below.
Depending on the hard- and software used to read
this text, and on their settings, not all elements
may display as intended. The scales as provided
in the indicator diagrams are, of course, not
necessarily correct.
Page 93: ... H laid on its side, thus ⌶: the symbol is
used to represent the shape of the rotated letter
H, not an I or an I-beam.
Page 137, bill for American belt: there are some
errors in the calculations, these have not been
corrected.
Page 147, paragraph starting The day after the
opening ...: the single and double quote marks do
not match.
Page 155, ... exposition of the action of the
reciprocating parts was given Mr. Edwin Reynolds
...: should possibly read ... exposition of the action
of the reciprocating parts was given by Mr. Edwin
Reynolds ....
Page 202, ... half the distance to the mid-stroke or to
E, Fig. 32, ...: presumably this refers to the figure
on page 201; there is no figure 32 in the book.
Page 217, If I went, that I would be the end of the
business: the second I should probably be
deleted.
Page 293: Presumably the references in the text to
Figure 1 and Figure 2 are to the top and bottom
 illustration respectively; the source document
does not provide figure numbers.
Page 328-330: The use of quote marks in these
letters differs from that in other correspondence;
this has not been standardised.
Changes made
Illustrations and tables were moved out of text
paragraphs.
Texts in a
dashed box
is not present as text in the source document, but
has been transcribed from the accompanying
illustration. The transcribed texts provide an
approximate indication of the positions of the
elements relative to each other.
Some obvious minor typographical and punctuation
errors have been corrected silently.
Dimensions m×n and m × n have been standardised
to m×n, multiplications x×y and x × y to x × y;
cross-head and crosshead were standardised to
cross-head.
Page xii: illustration numbers have been added;
Diagrams from English Locomotive ... has been
changed to Diagrams from English Locomotives
... as in the illustration caption.
Page 40: a closing single quote mark was inserted
after ... do not require any governor,
Page 79: pièce de resistance changed to pièce de
résistance.
Page 91, illustration caption: English Locomtlvoes
changed to English Locomotives.
Page 175: ... told me had had supplied all the
money ... changed to ... told me he had supplied
all the money ....
Page 287: ... this they had been keen kept in
ignorance of ... changed to ... this they had been
kept in ignorance of ....
Page 294: b′ and c′ in the text changed to b¹ and c¹
as in the illustration.
Page 303: ... to very the speed ... changed to ... to
vary the speed ....
Page 331: ... before I left planning a smaller engine
... changed to ... before I left, planning a smaller
engine ....
Page 333: closing quote mark inserted after ...
employing six typewriters.
*** END OF THE PROJECT GUTENBERG EBOOK ENGINEERING
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