Simon Dixon - Catherine the Great

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In 1745 a little-known German princess named Sophie of Anhalt-Zerbst married the nephew of Empress Elizabeth of Russia. Seventeen years later she overthrew her husband to become Catherine the Great, one of the most celebrated monarchs in history, turning eighteenth-century Russia into arguably the largest and most powerful state since the fall of the Roman Empire.
Admired for her achievements and satirized for her personal life, she wrote the most revealing memoirs by any European ruler. She promoted radical political ideas and emphasized moderation in government. Ruthless when necessary, she charmed everyone she met, joking at private dinner parties in the Hermitage, which she had built for her own use. Determined to endear herself to the Russians, she made religious devotions in which she never believed.
Intimate and revealing, Simon Dixon’s new biography examines the lifelong friendships that sustained the empress throughout her personal life, and places her within the context of the royal court: its politics, its flourishing literature, and the very culture that became central to her exercise of absolute power.

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The vagaries of life with Potëmkin help to explain why Easter Sunday found Catherine in wistful mood about Grigory Orlov. ‘If ever you catch sight of him,’ she wrote to Frau Bielke, ‘you will see without contradiction the finest man that you have ever encountered in your life.’ 105Paul and his wife were treated less charitably. Now that Natalia’s wilfulness had begun to emerge, the empress’s patience was starting to wear thin. She mocked the girl’s headstrong profligacy in a letter to Grimm in December: ‘we cannot stand this or that; we are indebted beyond twice what we have, and what we have is twice more than anyone else in Europe.’ 106Now that her son had requested a further 20,000 roubles, she grumbled to Potëmkin that there would be ‘no end to it’: ‘If you count everything, including what I have given to them, then more than five hundred thousand has been spent on them this year, and still they want more. But neither thanks nor a penny-worth of gratitude!’ 107On the whole, however, Catherine’s mood was positive. Even the obligatory summer pilgrimage to the Trinity monastery, with the Chernyshëvs and Kirill Razumovsky in tow, turned out to be ‘very agreeable and a real promenade: we had fine weather and good company and weren’t bored for a moment; I returned in perfect health’. 108

Unfortunately, it was not to last. The peace celebrations had to be postponed when a surfeit of peaches gave her chronic diarrhoea. Onlookers remembered her looking old when she was finally fit to attend having been bled by the medics. On the southern perimeter of the city, fourteen obelisks, each decorated with battle scenes, had been erected to commemorate the greatest victories of the war. From there, the troops marched through the two similarly adorned triumphal arches toward the Kremlin, where Catherine processed down the Red Staircase just as she had at her coronation, only this time in full military uniform. The sound of Slizov’s bell ‘was so tremendous that it seemed that the Ivan Tower itself trembled’, recalled Andrey Bolotov at the beginning of the nineteenth century. ‘Many of us feared it would collapse.’ Bazhenov had initially proposed temples to Janus, Bacchus and Minerva, but Catherine was having none of it. Classical imagery was deliberately excluded as the empress insisted on a range of neo-Gothic structures, erected on Khodynka field at the north-western edge of the city. All of them found their place on an imaginary map of the Black Sea, where Kerch and Yenikale were made to serve as ballrooms, Kinburn as a theatre, and Azov a huge banqueting hall. 109Not since the carousel of 1766 had the Court been treated to such a riot of medievalism. The Black Sea transported to a field near Moscow? It was too much even for Voltaire: ‘I knew very well that the very great Catherine II was the leading person in the whole world; but I hadn’t realised that she was a magician.’ 110

In the midst of this glorious fantasy, the empress had turned her very practical mind to one of the most significant statutes of her reign, the Provincial Reform of November 1775, designed to bring her government closer to the people through a rationalisation of local administration in the wake of the Pugachëv rebellion. Though six surviving drafts in her own hand testify to the depth of Catherine’s commitment to the legislation, the ideas in it came from her advisers. The most influential was Yakov Sievers, who had been brought to Moscow to help her with the reform. ‘Work this out with Sievers,’ ran a typical note on one of her drafts. ‘This is the most stupid article of all,’ she confessed at a moment of particular frustration. ‘My head hurts from it. This endless rumination is very dry and boring. To tell the truth, I am already at the end of my Latin, and I do not know what to do about the Lower Court, the Board of Public Welfare, and the Conscience Court. One word from your excellency on these subjects would be a ray of light, bringing order out of chaos, as when the world was created.’ 111In November, Sievers was appointed Governor General of Tver, Novgorod, Olonets and Pskov, an area larger than many European states in which he was given the honour of being the first to put the new reform into practice. As a sign that they had been appointed as the empress’s personal viceroys, he and Zakhar Chernyshëv in Belorussia were each rewarded with an English silver service weighing over 45 poods. Catherine eventually paid a total of 125,000 roubles for the two services, setting aside a further 42 roubles and 35 kopecks to provide fur coats for officers in the troop which accompanied the final consignment. 112‘I think these regulations are better than my Instruction for the code,’ she told Grimm in January 1776. ‘They are being introduced at this moment in the provinces of Tver and Smolensk where they have been received with open arms.’ 113

The Court had returned to St Petersburg in December. It would be another ten years before Catherine saw Moscow again. By then, the city and the surrounding provinces had been transformed almost beyond recognition, at least in part by her own reforming zeal. Yet even that transformation paled by comparison with the turbulence in the empress’s personal life.

Photographic Insert

PeterIIIs tutor Jacob Stählin thought Rotaris portrait of Elizabeth in a - фото 11
PeterIII’s tutor, Jacob Stählin, thought Rotari’s portrait of Elizabeth in a black lace mantilla the best likeness of this beautiful, irascible empress. Done in the last years of her life, it passed into the collection of her young favourite, Ivan Shuvalov.
Empress Elizabeth Petrovna (1709–61) by Pietro Antonio Rotari (1707–62): State Russian Museum, St. Petersburg, Russia/The Bridgeman Art Library
The prevailing myth of a conquering foreign ruler bringing civilization and - фото 12
The prevailing myth of a conquering foreign ruler bringing civilization and prosperity to Russia is encapsulated by Vigilius Erichsen’s portrait of the uniformed empress astride Brilliant, the charger she rode out towards Oranienbaum the day after her coup.
Equestrian Portrait of Catherine II (1729–96) the Great of Russia by Vigilius Erichsen (1722–82): Musée des Beaux-Arts, Chartres, France/The Bridgeman Art Library
To ensure that enlightened female rule was not mistaken for weakness - фото 13
To ensure that enlightened female rule was not mistaken for weakness, Catherine’s image-makers represented her as Minerva, the war-like goddess of Wisdom, from the time of her coronation in 1762. This Parisian snuff-box may well have been made to mark her son’s visit to the French capital, twenty years later.
Round snuff-box showing Catherine as Minerva, Paris 1781–2 (gold, verre églomisé, silver): Hillwood Estate, Museum & Gardens; Bequest of Marjorie Merriweather Post, 1973, photo by Ed Owen
If ever you catch sight of him you will see without contradiction the finest - фото 14
‘If ever you catch sight of him, you will see without contradiction the finest man that you have ever encountered in your life.’ Embracing putti symbolise Catherine’s love for Grigory Orlov on the service she commissioned for him from the Imperial Porcelain Factory sometime between 1762 and 1765.
Tea caddy, coffeepot, and teapot from the Orlov Service, St. Petersburg, Imperial Porcelain Factory, 1762–5: Hillwood Estate, Museum & Gardens; Bequest of Marjorie Merriweather Post, 1973, photo by Ed Owen
Completed as she arrived in Russia Rastrellis Summer Palace on the Fontanka - фото 15
Completed as she arrived in Russia, Rastrelli’s Summer Palace on the Fontanka was an exuberant timber fantasy that survived Catherine’s reign, along with many other features of a Baroque Court, before being demolished by order of Paul I.
The Summer Palace, St. Petersburg, Russian School (18th century): State Russian Museum, St. Petersburg, Russia/Giraudon/The Bridgeman Art Library
Exemplified by the Green Dining Room Charles Camerons cool interiors at - фото 16
Exemplified by the Green Dining Room, Charles Cameron’s cool interiors at Tsarskoye Selo marked the triumph of the restrained neoclassical style in Russian architecture from the late 1770s.
Summer Palace, Tsarskoye Selo, Green Dining Room, designed by Charles Cameron, 1784–91: Bridgeman Art Library, London
The empresss comedies and operatic pageants played to select audiences at - фото 17
The empress’s comedies and operatic pageants played to select audiences at Giacomo Quarenghi’s neoclassical Hermitage Theatre, which opened on 22 November 1785. Catherine entered from the adjoining Hermitage, guests from the granite-clad embankment, itself admired as a ‘grand work, which, in regard to utility and magnificence’ could not ‘be paralleled except among the ruins of ancient Rome’.
The Hermitage Theatre seen from Vasilevsky Island, 1822 (colour lithograph), Russian School (19th century): Pushkin Museum, Moscow, Russia/The Bridgeman Art Library
Done in Kiev in 1787 Mikhail Shibanovs portrait of the empress in travelling - фото 18
Done in Kiev in 1787, Mikhail Shibanov’s portrait of the empress in travelling dress combines the image of a maternal ruler with the expansionist ambitions represented by the insignia of three chivalric orders: St Andrew the First Called (founded by Peter I), St George (founded ‘for bravery’ during the Russo-Turkish war of 1768–74) and St Vladimir (founded in 1782, the year in which the empress outlined her ‘Greek Project’ in a letter to Joseph II of Austria).
Catherine II in a travelling costume, 1787 by Mikhail Shibanov (f1.1783–89): State Russian Museum, St. Petersburg, Russia/The Bridgeman Art Library
His rarest quality was a courage of heart mind and soul which set him - фото 19
‘His rarest quality was a courage of heart, mind and soul which set him completely apart from the rest of humanity.’ Potëmkin’s outsized personality is well captured in Giovanni Battista Lampi’s celebration of his martial valour, painted in the last year of the prince’s life.
Prince Grigory Aleksandrovich Potëmkin (1739–91), c.1790 by Johann Baptist I Lampi (1751–1830): Hermitage, St. Petersburg, Russia/The Bridgeman Art Library
Small as it was the palace at Zerbst provided Catherines father Prince - фото 20
Small as it was, the palace at Zerbst provided Catherine’s father, Prince Christian August, with the quintessentially cosmopolitan setting of a Baroque Court in miniature.
The Schloss at Zerbst
Boisterous in private discreet and demure in public the young Grand Duchess - фото 21
Boisterous in private, discreet and demure in public, the young Grand Duchess Catherine set out on her arrival at the Russian Court ‘to please the grand duke, to please the empress, and to please the nation’.
The young Grand Duchess Catherine soon after her marriage, after Grooth
Few eighteenthcentury princes escaped unscathed at the hands of secondrate - фото 22
Few eighteenth-century princes escaped unscathed at the hands of second-rate artists. Peter III was no exception. The Synodal painter Aleksey Antropov captured something of the fabled vacuity of Catherine’s ill-fated husband.
Peter III, engraving after A. P. Antropov
While the empresss memoirs implied that Paul I was the progeny of Sergey - фото 23
While the empress’s memoirs implied that Paul I was the progeny of Sergey Saltykov, her son always regarded Peter III as his father and resembled him strongly in both personality and physique.
Paul I, English engraving of the 1790s
Modelling his illustrations of Catherines coronation on those of the French - фото 24
Modelling his illustrations of Catherine’s coronation on those of the French kings at Reims, Jean-Louis de Veilly transformed the intimate interior of the Cathedral of the Dormition into a cavernous temple.
Catherine’s coronation: nineteenth-century engraving after J. L. de Veilly
Elaborate allegorical fireworks were one feature of Baroque Court culture that - фото 25
Elaborate allegorical fireworks were one feature of Baroque Court culture that remained central to Russian ceremonials throughout Catherine’s reign. This display, performed on the banks of the Moscow River opposite the Kremlin on 29 September 1762, was intended to confer dynastic legitimacy on a newly-crowned usurper.
Coronation fireworks, 1762: A. K. Melnikov from an engraving by E. G. Yinogradov
Elizabeths coronation in 1742 served as the model for Catherines twenty years - фото 26
Elizabeth’s coronation in 1742 served as the model for Catherine’s twenty years later. In a scene facing north towards the Cathedral of the Dormition, the cockaigne for the populace on the Kremlin’s Cathedral Square is flanked by the Red Staircase and the Ivan the Great bell-tower. Such feasts were still staged in the 1790s, though by then they had long been dismissed as barbaric by Western visitors to Russia.
Elizabeth’s coronation feast in the Kremlin Square, 1742: engraving of 1744
From Catherine II to Peter I was the lapidary motto chosen by Falconet for - фото 27
‘From Catherine II to Peter I’ was the lapidary motto chosen by Falconet for his statue of the empress’s most glorious predecessor. On 7 August 1782 she witnessed the unveiling of the first public monument in Russia from the balcony of the former Bestuzhev mansion on the left of the engraving.
The unveiling of Falconet’s monument to Peter the Great: engraving by A. K. Lemnikov after A. P. Davydov, 1782
Apart from seven rooms garnished in jasper agate and real and artificial - фото 28
‘Apart from seven rooms garnished in jasper, agate, and real and artificial marble, and a garden right at the door of my apartments, I have an immense colonnade which also leads to this garden and which ends in a flight of stairs leading straight to the lake. So, search for me after that, if you can!’
The Cameron Gallery, Tsarskoye Selo: aquatint engraving by J. G. de Mayr, 1793
Though Catherine sought to surpass rather than merely imitate Peter I her - фото 29
Though Catherine sought to surpass rather than merely imitate Peter I, her declared intention to complete what he had begun was part of her spurious claim to legitimacy. Tsar Peter gazes down approvingly from the heavens in Ferdinand de Meys’s allegorical representation of the empress’s great journey to the South in 1787.
Catherine’s journey to the south, 1787: allegorical engraving by Ferdinand de Meys, courtesy of Dr James Cutshall
The first pornographic British caricature of the empress appeared less than two - фото 30
The first pornographic British caricature of the empress appeared less than two months after Caroline Walker’s majestic engraving, done at the outset of the Russo-Turkish War in 1787 from the copy of Alexander Roslin’s portrait owned by Catherine’s ambassador to London, Count Semën Vorontsov.
Catherine II, engraving by Caroline Walker after Roslin, London, 1787
Though Platon Zubov liked to pose as a worthy successor to Potëmkin he was in - фото 31
Though Platon Zubov liked to pose as a worthy successor to Potëmkin, he was in reality an arrogant upstart who damaged the empress’s reputation in her declining years. This version of Lampi’s portrait was done by the British engraver, James Walker, resident in Russia between 1784 and 1802.
Prince Platon Zubov, engraving by James Walker after Lampi, St Petersburg, 1798
The caricature in this French version of The Imperial Stride first published - фото 32
The caricature in this French version of ‘The Imperial Stride’, first published in London on 12 April 1791 NS, was the sort of salacious image that corrupted Catherine’s reputation among her 19th-century male successors.
‘L’Enjambée impériale’, French cartoon of 1791
Under Russias last tsar Nicholas II it was left to the beholder to imagine - фото 33
Under Russia’s last tsar, Nicholas II, it was left to the beholder to imagine the relationship between the bronzed youth and the statuesque empress represented by Lampi’s portrait of 1794. Pride of place on the 500-rouble note went to Peter the Great.
100 rouble note of 1910

CHAPTER TEN

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