6 October 2020
Virtual Visit of the Pavilion Hall
in the Hermitage Museum
The Hermitage museum is a divine treasury of art, it has masterpieces of all times, schools and currents of the world art, there are more than 3 million art pieces! This museum is the true pride of Russia and undoubtedly the whole world.
We have already told you about some of its gems. Today is the time to talk about the halls that contain these priceless masterpieces. Even if you are not much interested in painting, the majestic state halls of the museum will not leave you indifferent. Today I tell you only about one hall, that deserves your attention. Apart from being a beautiful and richly decorated, it is crucial to the history of the museum.
It is called the Pavilion Hall, every square inch of this room is pure art! And it is closely linked with the foundation of the museum and Empress Catherine II.
In this post, you will learn about the curious rules of Catherine for her private guests, the last ball of the Romanovs, mosaics, Peacock Clock, and Bakhchisaray fountains.
We have already told you about some of its gems. Today is the time to talk about the halls that contain these priceless masterpieces. Even if you are not much interested in painting, the majestic state halls of the museum will not leave you indifferent. Today I tell you only about one hall, that deserves your attention. Apart from being a beautiful and richly decorated, it is crucial to the history of the museum.
It is called the Pavilion Hall, every square inch of this room is pure art! And it is closely linked with the foundation of the museum and Empress Catherine II.
In this post, you will learn about the curious rules of Catherine for her private guests, the last ball of the Romanovs, mosaics, Peacock Clock, and Bakhchisaray fountains.
The main part of the museum's huge collection is housed in six buildings located on the banks of the Neva River. The most important and famous is the Winter Palace, the official residence of the Russian tsars.
The rest of the architectural ensemble is made up of five buildings of the Small, Large (Old) and New Hermitage, and the Hermitage Theatre. Furthermore, on the other side of the Palace Square there is the General Staff Building, its eastern wing is also a part of the museum, its highlight is the collection of Impressionists and Post-Impressionists.
Beyond that, the Menshikov Palace, Peter the Great's Winter Palace, the Porcelain Museum and the Museum Restoration Center are all integral parts of the State Hermitage Museum.
The rest of the architectural ensemble is made up of five buildings of the Small, Large (Old) and New Hermitage, and the Hermitage Theatre. Furthermore, on the other side of the Palace Square there is the General Staff Building, its eastern wing is also a part of the museum, its highlight is the collection of Impressionists and Post-Impressionists.
Beyond that, the Menshikov Palace, Peter the Great's Winter Palace, the Porcelain Museum and the Museum Restoration Center are all integral parts of the State Hermitage Museum.
Empress Catherine II and the Creation of the Hermitage
Catherine II of Russia or Catherine the Great was the Empress and Autocrat of all Russias for 34 years in the 18th century (1762 - 1796). The Pomeranian-born German Princess, Sofia Federica Augusta of Anhalt-Zebst, later baptized as Catherine (or Ekaterina Alekséyevna) arrived in Russia at the age of 15, as the bride and future wife of Tsar Peter III.
She ascended to the throne as a result of a coup and the assassination of her husband in 1762. During her long and successful reign the Russian Empire greatly extended its limits, absorbing the northern Black Sea region, Crimea, Kuban region, East Georgia, Lithuania, Livonia, Belarus and Curland. The population doubled, the country developed culturally and politically, and Russia gained international recognition as one of the most powerful countries in Europe.
Only one year after ascending to the throne, the young empress began creating her own museum, an art gallery collected to her liking. This first collection was located in Catherine's private rooms, called the Hermitage. This name, which later was transferred to the museum, comes from French and means the hermit's refuge.
The first Hermitage of the Empress was a 2-story pavilion, built by Jean-Batiste Vallin de la Mothe in 1765 next to the Winter Palace. Catalina's refuge consisted of a large living room, small offices, and a hanging garden with the large orangery. In these hidden chambers, where walls were decorated with paintings, the empress spent her free hours in talks and discussions, surrounded by her friends and loved ones. Upon entering the Hermitage the guests had to follow the rules written by Catherine personally, that did not coincide with the traditional rules of the court.
Catherine II of Russia or Catherine the Great was the Empress and Autocrat of all Russias for 34 years in the 18th century (1762 - 1796). The Pomeranian-born German Princess, Sofia Federica Augusta of Anhalt-Zebst, later baptized as Catherine (or Ekaterina Alekséyevna) arrived in Russia at the age of 15, as the bride and future wife of Tsar Peter III.
She ascended to the throne as a result of a coup and the assassination of her husband in 1762. During her long and successful reign the Russian Empire greatly extended its limits, absorbing the northern Black Sea region, Crimea, Kuban region, East Georgia, Lithuania, Livonia, Belarus and Curland. The population doubled, the country developed culturally and politically, and Russia gained international recognition as one of the most powerful countries in Europe.
Only one year after ascending to the throne, the young empress began creating her own museum, an art gallery collected to her liking. This first collection was located in Catherine's private rooms, called the Hermitage. This name, which later was transferred to the museum, comes from French and means the hermit's refuge.
The first Hermitage of the Empress was a 2-story pavilion, built by Jean-Batiste Vallin de la Mothe in 1765 next to the Winter Palace. Catalina's refuge consisted of a large living room, small offices, and a hanging garden with the large orangery. In these hidden chambers, where walls were decorated with paintings, the empress spent her free hours in talks and discussions, surrounded by her friends and loved ones. Upon entering the Hermitage the guests had to follow the rules written by Catherine personally, that did not coincide with the traditional rules of the court.
Building of the Small Hermitage
Hermitage Rules emphasized the equality of the guests. For example, in these private chambers all Russians were supposed to speak Russian to each other; it was forbidden to stand up when the empress arrived.
The guests had to:
leave all their ranks outside the gates, as well as their hats and swords
be cheerful, but not spoil, break or bite anything
sit, stand, walk wherever they wanted, not taking into account the presence of anyone, even the empress
speak calmly, so that the ears and heads of others won't get hurt
And the most important rule was:
keep everything that happened in these chambers in secret, without talking about it to the others.
Violation of these rules was punishable by fines. The offender (male or female) had to drink a glass of cold water and read or memorize a page from Telemakiada (Trediakovsky's poem). But those who broke the last rule of secrecy could not enter the Hermitage even once!
And so that no one else, including servants, could hear or see what Catherine and her guests were doing, they could not enter the Hermitage. That is why they were used the mechanical table that was ascended already served and was later taken down, without the presence of other people. This table was in the room until the end of the 18th century, but today the similar table can be seen in the Hermitage Pavilion in Peterhof.
In exactly these private chambers, Catherine discussed with her advisers the works she was thinking of buying for her museum. Little by little the collection had grown so much that it required another building. Only the outer walls of Catherine's initial pavilion remain, that was enlarged by the architect Yuri Felton (1773-1775), who connected the Hermitage Pavilion with the other residential building through the galleries on both sides of the hanging garden. Thus, the growing collection gained more space.
Hermitage Rules emphasized the equality of the guests. For example, in these private chambers all Russians were supposed to speak Russian to each other; it was forbidden to stand up when the empress arrived.
The guests had to:
leave all their ranks outside the gates, as well as their hats and swords
be cheerful, but not spoil, break or bite anything
sit, stand, walk wherever they wanted, not taking into account the presence of anyone, even the empress
speak calmly, so that the ears and heads of others won't get hurt
And the most important rule was:
keep everything that happened in these chambers in secret, without talking about it to the others.
Violation of these rules was punishable by fines. The offender (male or female) had to drink a glass of cold water and read or memorize a page from Telemakiada (Trediakovsky's poem). But those who broke the last rule of secrecy could not enter the Hermitage even once!
And so that no one else, including servants, could hear or see what Catherine and her guests were doing, they could not enter the Hermitage. That is why they were used the mechanical table that was ascended already served and was later taken down, without the presence of other people. This table was in the room until the end of the 18th century, but today the similar table can be seen in the Hermitage Pavilion in Peterhof.
In exactly these private chambers, Catherine discussed with her advisers the works she was thinking of buying for her museum. Little by little the collection had grown so much that it required another building. Only the outer walls of Catherine's initial pavilion remain, that was enlarged by the architect Yuri Felton (1773-1775), who connected the Hermitage Pavilion with the other residential building through the galleries on both sides of the hanging garden. Thus, the growing collection gained more space.
According to the fashion of that time, the pictures were placed tightly on the walls in 5-6 rows, covering the entire space like a coloured carpet. They hung them just as the owner liked without respect for the era and painting school, grouping them by their colours and often replacing one painting with the other "more famous".
Pavilion Hall in mid 19th century. Watercolours by Eduard Hau
Pavilion Hall in the 19th century
Later in 1858/59 another famous architect Andrei Stackenschneider changed the interior of the hall according to the new fashion at the order of Nicholas I. Since then we have the wonderful hall, filled with air and crystals as we see it now. He united the older halls into one spacious pavilion, full of light.
By creating the new room, the talented architect kept the structure of the previous space. Instead of the wall that separated the main hall from the old garden, Stackenschneider erected double colonnade based on the old structures, and instead of the walls he installed two-column porticoes, all made of snow-white marble.
In accordance with the style of eclecticism, the creator mixed themes from Antiquity, the Renaissance and the East. The entire space in the pavillion is decorated in carved marble and gold, and extended by the well-proportioned columns and arches. Along with 28 huge crystal chandeliers, mosaics and fountains everything here creates the atmosphere of an oriental palace from fairy tales.
Pavilion Hall in the 19th century
Later in 1858/59 another famous architect Andrei Stackenschneider changed the interior of the hall according to the new fashion at the order of Nicholas I. Since then we have the wonderful hall, filled with air and crystals as we see it now. He united the older halls into one spacious pavilion, full of light.
By creating the new room, the talented architect kept the structure of the previous space. Instead of the wall that separated the main hall from the old garden, Stackenschneider erected double colonnade based on the old structures, and instead of the walls he installed two-column porticoes, all made of snow-white marble.
In accordance with the style of eclecticism, the creator mixed themes from Antiquity, the Renaissance and the East. The entire space in the pavillion is decorated in carved marble and gold, and extended by the well-proportioned columns and arches. Along with 28 huge crystal chandeliers, mosaics and fountains everything here creates the atmosphere of an oriental palace from fairy tales.
Bakhchisarai Fountains
The hall is decorated with four marble fountains, they are the variations of the "Fountain of Tears" from the Bakhchisarai Palace in Crimea. The drops of water that fall like the tears of the Great Khan of Crimea on the marble shells intensify the magical atmosphere of the Orient.
In addition, the room has very good acoustics, and it was used for luxurious receptions and imperial balls. Meanwhile, on the balconies and galleries of the second level, that we cannot enter now, the musicians were located and the invited guests could walk through these galleries while taking some rest from the waltzes and mazurkas.
The hall has always been very modern, it was electrified among the first in the entire palace in 1883/4.
The hall is decorated with four marble fountains, they are the variations of the "Fountain of Tears" from the Bakhchisarai Palace in Crimea. The drops of water that fall like the tears of the Great Khan of Crimea on the marble shells intensify the magical atmosphere of the Orient.
In addition, the room has very good acoustics, and it was used for luxurious receptions and imperial balls. Meanwhile, on the balconies and galleries of the second level, that we cannot enter now, the musicians were located and the invited guests could walk through these galleries while taking some rest from the waltzes and mazurkas.
The hall has always been very modern, it was electrified among the first in the entire palace in 1883/4.
Photos retouched in colour from Moya Planeta: Nicholas II and Alexandra on the left, Zinaida Yusupova on the right
1903 Ball in the Winter Palace
One of the most famous imperial balls took place in this hall. I mean the Costume Ball of 1903. It was one of the last balls of the Russian imperial family.
The costume ball marked the end of Advent and there all the nobility of the Russian Empire were present in the outfits from the "pre-Peter I era." Their costumes that we can now see in the old photographs were valuable works of art. They were created by artist Sergei Solomko with the help of historians. Each one cost a fortune! Contemporaries also noted the large number of jewelry on the guests.
This was the most famous ball that was organized during the reign of Nicholas II. On that night, there was a ballet and opera concert starring Fyodor Chaliapin and Anna Pavlova in the Hermitage Theatre followed by the ball that took place in the Pavilion Hall. All the guests in historical costumes danced the Russian dances. What a splendor!
A year later, in 1904, The Album of the Costume Ball in the Winter Palace was issued. It contained 21 heliogravures and 174 collotypes. The proceeds from the sale of the copies went to charity, and the album was sold mainly among the participants of that ball.
1903 Ball in the Winter Palace
One of the most famous imperial balls took place in this hall. I mean the Costume Ball of 1903. It was one of the last balls of the Russian imperial family.
The costume ball marked the end of Advent and there all the nobility of the Russian Empire were present in the outfits from the "pre-Peter I era." Their costumes that we can now see in the old photographs were valuable works of art. They were created by artist Sergei Solomko with the help of historians. Each one cost a fortune! Contemporaries also noted the large number of jewelry on the guests.
This was the most famous ball that was organized during the reign of Nicholas II. On that night, there was a ballet and opera concert starring Fyodor Chaliapin and Anna Pavlova in the Hermitage Theatre followed by the ball that took place in the Pavilion Hall. All the guests in historical costumes danced the Russian dances. What a splendor!
A year later, in 1904, The Album of the Costume Ball in the Winter Palace was issued. It contained 21 heliogravures and 174 collotypes. The proceeds from the sale of the copies went to charity, and the album was sold mainly among the participants of that ball.
Photo by Y. Molodkovets
Mosaics
In the Pavilion Hall there are no paintings, but each corner is a piece of art. It is richly decorated with Byzantine and Florentine mosaics. There are the tables with enamel and semi-precious stone countertops, portraits and landscapes made of mosaic.
However the most interesting piece of mosaics is installed on the floor, under the windows, facing the Hanging Garden - it is a copy of the ancient floor found during the excavations of 1780, near Rome. It presents the mythological scenes with the head of Medusa in the centre. It is the medium size copy of the original floor of the Roman baths of Ocriculum.
The copy was made in 1847-1851 in Rome by Russian mosaic artists, students of the St. Petersburg Academy of Fine Arts: V. Raev, I. Shapoválov, S. Fédorov and F. Sólntsev. Another smaller copy of this mosaic is also in the living room, it is the precious little table. Here on the table the Russian artists could show their art to the fullest, the enamels are so small that you can hardly detect them, that's why this mosaic looks more like a painting.
Mosaics
In the Pavilion Hall there are no paintings, but each corner is a piece of art. It is richly decorated with Byzantine and Florentine mosaics. There are the tables with enamel and semi-precious stone countertops, portraits and landscapes made of mosaic.
However the most interesting piece of mosaics is installed on the floor, under the windows, facing the Hanging Garden - it is a copy of the ancient floor found during the excavations of 1780, near Rome. It presents the mythological scenes with the head of Medusa in the centre. It is the medium size copy of the original floor of the Roman baths of Ocriculum.
The copy was made in 1847-1851 in Rome by Russian mosaic artists, students of the St. Petersburg Academy of Fine Arts: V. Raev, I. Shapoválov, S. Fédorov and F. Sólntsev. Another smaller copy of this mosaic is also in the living room, it is the precious little table. Here on the table the Russian artists could show their art to the fullest, the enamels are so small that you can hardly detect them, that's why this mosaic looks more like a painting.
Photo State Hermitage Museum
Peacock Clock
The most famous piece of the Pavilion Hall and probably one of the most popular in the entire Hermitage Museum is the Peacock Clock. It was created in England by master James Cox and it was bought for Catherine II by Prince Grigori Potemkin, a Russian statesman, military man, and politician. Potemkin was also one of many lovers of Catherine and her morganatic husband.
This curious clock can be considered as the symbol of those gallant times, when life seemed like a theatrical adventure and the nobility preferred everything with secrets and intrigues around it, just like the special mechanisms of this piece of art.
The clock is placed in a glass cage that blends perfectly well with the gleaming crystals and mosaics in the room. In this cage, there is an oak tree and various figures of birds and squirrels, all gilded. In the centre of this group there is a peacock, that turns when the clock strikes, spreading its bushy tail and shaking its head. One by one its neighbours begin to move - the owl turns its head and blinks, the rooster opens its beak and sings.
In order to find out the time, you have to look at the fungus located under the tree. Inside its hat there are two discs that rotate one on top of the other, and in the slot you can see the inscribed numbers.
When it was delivered to Russia from England in 1777 in disassembled parts, the mechanism was damaged and needed repair. It was mended by Ivan Kulibin, a Russian mechanic and inventor. Since then this unique clock has been running, and the golden peacock opens its tail every Wednesday at 8pm (time may change).
Peacock Clock
The most famous piece of the Pavilion Hall and probably one of the most popular in the entire Hermitage Museum is the Peacock Clock. It was created in England by master James Cox and it was bought for Catherine II by Prince Grigori Potemkin, a Russian statesman, military man, and politician. Potemkin was also one of many lovers of Catherine and her morganatic husband.
This curious clock can be considered as the symbol of those gallant times, when life seemed like a theatrical adventure and the nobility preferred everything with secrets and intrigues around it, just like the special mechanisms of this piece of art.
The clock is placed in a glass cage that blends perfectly well with the gleaming crystals and mosaics in the room. In this cage, there is an oak tree and various figures of birds and squirrels, all gilded. In the centre of this group there is a peacock, that turns when the clock strikes, spreading its bushy tail and shaking its head. One by one its neighbours begin to move - the owl turns its head and blinks, the rooster opens its beak and sings.
In order to find out the time, you have to look at the fungus located under the tree. Inside its hat there are two discs that rotate one on top of the other, and in the slot you can see the inscribed numbers.
When it was delivered to Russia from England in 1777 in disassembled parts, the mechanism was damaged and needed repair. It was mended by Ivan Kulibin, a Russian mechanic and inventor. Since then this unique clock has been running, and the golden peacock opens its tail every Wednesday at 8pm (time may change).
According to the Hermitage experts, the Peacock is the only great 18th century automata in the world that has reached the present day unchanged.
Here you can see the video of the magical clock, but it would be better to come to St. Petersburg in person and see it in action surrounded by the marble and glass beauty of the Pavilion Hall. And I have told you only about one room of the Hermitage, imagine how rich and beautiful are the others….
Check out our Hermitage tours and other publications about the Hermitage collection, such as Da Vinci's Madonnas and Danaes of the Hermitage.
If you want to know more, contact me and of course come to St. Petersburg, because no story can replace the real experience from contemplating art!
If you can't get there now, there's a 5-hour Hermitage tour recorded in one shot with IPhone 11 and other virtual tours of the Hermitage that you can find in another post of our blog.
Text by Karina Carusel Tours
If you want to know more, contact me and of course come to St. Petersburg, because no story can replace the real experience from contemplating art!
If you can't get there now, there's a 5-hour Hermitage tour recorded in one shot with IPhone 11 and other virtual tours of the Hermitage that you can find in another post of our blog.
Text by Karina Carusel Tours