kremlin LEGENDS
RUSSIAN ROMANTICISM AND THE ARMOURY CHAMBER
exhibition hall of
the Patriarch's Palace
exhibition hall of
the Assumption Belfry
the
October
January
Legends surrounded the art pieces from the Kremlin collection for hundreds of years. In the early 19th century, the ideas of the Romanticism and an overwhelming interest to the national history drove the amateurs of antiquities to reconsider the pre-existing myths and, following a creative urge, to invent the new ones. The romantic approach towards history presumed the artistic presentation of the facts. At the same time, the works of historians of the first half of the 19thcentury and their critics gave a strong impulse to the development of historical science.
It was during the Romantic era, when the ancient artifacts of the Armoury Chamber, connected to the crucial events in the national history, were being studied and published. Along with this, many of them acquired false attributions that were to underline their link to prominent Russian rulers and other outstanding personalities. Thus, in the museum collection "appeared" the staffs of Grand Princes Andrey Bogolubsky and Ivan Kalita, helmet of Grand Prince Alexander Nevsky, child’s armour of Grand Prince Dmitry Donskoy, chain armour of Martha the Mayoress, mace of Marina Mniszech, though all these items had practically nothing to do with the mentioned figures of Russian history. The works of the researches and authors of the guidebooks to the Armoury Chamber played the key role in this process. For the 19th century, some authors disproved the others and in the meanwhile suggested equally brave versions of items' origin.
The exhibition tells about the patriotic rise of the early 19th century, caused by the Napoleonic Wars, about the increasing interest to the Middle Ages, the creators of myths, and the first researchers of the Kremlin collection. The first part of the display dips into the atmosphere of Russian Romanticism, which allows looking at the Armoury Chamber in the context of an epoch. The second hall is dedicated to the legends referring to different historical objects, such as the legend about "the Monomachos's gifts" and the fantastic weapons that, in the 19th century, people tried to reconstruct and correlate to various historical terms.
Legends surrounded the art pieces from the Kremlin collection for hundreds of years. In the early 19th century, the ideas of the Romanticism and an overwhelming interest to the national history drove the amateurs of antiquities to reconsider the pre-existing myths and, following a creative urge, to invent the new ones. The romantic approach towards history presumed the artistic presentation of the facts. At the same time, the works of historians of the first half of the 19thcentury and their critics gave a strong impulse to the development of historical science.
Thus, in the museum collection "appeared" the staffs of Grand Princes Andrey Bogolubsky and Ivan Kalita, helmet of Grand Prince Alexander Nevsky, child’s armour of Grand Prince Dmitry Donskoy, chain armour of Martha the Mayoress, mace of Marina Mniszech, though all these items had practically nothing to do with the mentioned figures of Russian history. The works of the researches and authors of the guidebooks to the Armoury Chamber played the key role in this process. For the 19th century, some authors disproved the others and in the meanwhile suggested equally brave versions of items' origin.
The exhibition tells about the patriotic rise of the early 19th century, caused by the Napoleonic Wars, about the increasing interest to the Middle Ages, the creators of myths, and the first researchers of the Kremlin collection.
It was during the Romantic era, when the ancient artifacts of the Armoury Chamber, connected to the crucial events in the national history, were being studied and published.
long with this, many of them acquired false attributions that were to underline their link to prominent Russian rulers and other outstanding personalities.
The first part of the display dips into the atmosphere of Russian Romanticism, which allows looking at the Armoury Chamber in the context of an epoch.
The second hall is dedicated to the legends referring to different historical objects, such as the legend about "the Monomakh’s gifts" and the fantastic weapons that, in the 19th century, people tried to reconstruct and correlate to various historical terms.
The display presents more than 130 items from the Moscow Kremlin Museums and other leading museums of the country. These are the regalia, arms and armour, silver artworks, horse harnesses, paintings, graphics, sculpture, rare manuscripts and printed editions. Among the unique pieces of art are the fantastic armour, executed for the future Emperor Alexander II; suit of armour of the Happy and the Mournful Knights — allegorical participants of the funeral procession of Emperor Nicholas I; the ivory and walrus throne, which was first attributed to Grand Prince Ivan III and then to Tsar Ivan the Terrible, and the statue by M. M. Antokolsky depicting the first Russian tsar on the same throne.
You will also see the Monomakh's Cap of the Second Set, which, in the 19th century, was thought to be "the crown of Grand Princess Olga"; the painting by A. D. Litovchenko "Ivan the Terrible showing the treasures to English ambassador Horsey" picturing the 17th-century objects from the collection of the Armoury Chamber in the historical scene of an earlier epoch (the pieces are displayed on both sides of the painting). A special place in taken by the watercolours by F. G. Solntsev, which have original inscriptions with legendary attributions.
The display presents more than 130 items from the Moscow Kremlin Museums and other leading museums of the country. These are the regalia, arms and armour, silver artworks, horse harnesses, paintings, graphics, sculpture, rare manuscripts and printed editions. Among the unique pieces of art are the fantastic armour, executed for the future Emperor Alexander II; suit of armour of the Happy and the Mournful Knights — allegorical participants of the funeral procession of Emperor Nicholas I; the ivory and walrus throne, which was first attributed to Grand Prince Ivan III and then to Tsar Ivan the Terrible, and the statue by M. M. Antokolsky depicting the first Russian tsar on the same throne.
You will also see the Monomakh's Cap of the Second Set, which, in the 19th century, was thought to be "the crown of Grand Princess Olga"; the painting by A. D. Litovchenko "Ivan the Terrible showing the treasures to English ambassador Horsey" picturing the 17th-century objects from the collection of the Armoury Chamber in the historical scene of an earlier epoch (the pieces are displayed on both sides of the painting). A special place in taken by the watercolours by F. G. Solntsev, which have original inscriptions with legendary attributions.
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Monomakh's Cap of the Second Set
Monomakh's Cap of the Second Set
In the late 18th - early 19th, it was thought to be “the crown of Grand Princess Olga”. Moscow, Kremlin workshops, 1682. Gold, ruby, sapphires, emeralds, tourmalines, carnelian, pearls, velvet; chasing, casting, carving
Knight's armour
Knight's armour "Ancient Armament" (angle)
Made for the heir to the throne Alexander Nikolaevich. The Zlatoust Arms Factory, 1830–1833. Master Ivan Bushuev. Steel, brass, copper, leather, velvet, fabric; hammering, chasing, casting, piercing, mounting, engraving, etching, gilding, blueing. @Zlatoust City Museum of Regional Ethnography
Portrait of Empress Alexandra Fyodorovna
Portrait of Empress Alexandra Fyodorovna
Franz Krüger (?), 1852-1857. Oil on canvas. @State Historical Museum
Mantel Clock
Mantel Clock "Minin and Pozharsky"
Paris, bronze-casting firm of Pierre-Philippe Thomire, the early 1820s. After the sketch of the monument by Ivan Martos. Bronze; casting, chasing, gilding. @State Historical Museum
Ivan the Terrible. Sculpture
Ivan the Terrible. Sculpture
Mark Matveevich Antokolsky St. Petersburg, 1870s; moulding – Paris, 1901-1902. Bronze; casting. @State Museum of the History of Religion, St. Petersburg
Throne
Throne
Used to be attributed to Grand Prince Ivan III and Tsar Ivan IV the Terrible. Moscow, Armoury Chamber (?), 1654–1667; separate plates of the back and the two-headed eagle above it – Moscow, 19th century (?). Wood, ivory and walrus bone, silver threads, copper alloy, iron, velvet, glazet; carving, casting, gilding. @The Moscow Kremlin Museums
Halls of the Armoury Chamber in the Kremlin with a Group Portrait of the Museum Staff Members
Halls of the Armoury Chamber in the Kremlin with a Group Portrait of the Museum Staff Members
Nikolay Burdin, 1846. Oil on canvas. State Historical Museum
State Shield
State Shield
Used to be attributed to Prince Mstislav the Great. Moscow, Kremlin workshops, the last quarter of the 17th century. Gold, silver, rock crystal, jade, glass, precious stones, fabric, golden and silk cord; casting, chasing, carving, damascening, needlework. @The Moscow Kremlin Museums
Helmet
Helmet
Used to be attributed to Kazan Khan Shahghali. Ottoman Empire, second half of the 16th century. Damask steel, gold, silver, rubies, turquoise, silk fabric; forging, chasing, gold damascening, carving, blueing, flat chasing, weaving. @The Moscow Kremlin Museums
Helmet (
Helmet ("Jericho Cap")
Used to be attributed to Prince Alexander Nevsky. Moscow,Armoury Chamber, 1621. Master Nikita Davydov. Damask steel, gold, precious stones, silk fabric, pearls; forging, chasing, gold damascening, carving, enamel. @The Moscow Kremlin Museums
Drawing
Drawing "Helmet" ("Jericho Cap") of Tsar Mikhail Fyodorovich (two sides view)
The inscription "Zishagge of G.P. Alexander Nevsky" reflects the legend of the 19th century. Russia, the early 1830s. Paper; watercolour, Indian ink, white paint, glue painting, gold paint. @The Moscow Kremlin Museums
Ivan the Terrible Showing Treasures to English Ambassador Horsey
Ivan the Terrible Showing Treasures to English Ambassador Horsey
Alexander Litovchenko Russia, 1875. Oil on canvas.
Table Decoration
Table Decoration "Deer"
Pictured on the painting of A.D. Litovchenko "Ivan the Terrible Showing Treasures to English Ambassador Horsey". Hamburg, 1635–1644. Master Johann Janz. Silver; chasing, casting, pouncing, gilding. @The Moscow Kremlin Museums
Saddle
Saddle
Pictured on the painting of A.D. Litovchenko "Ivan the Terrible Showing Treasures to English Ambassador Horsey". Moscow, Kremlin workshops, second half of the 17th century; brocade – Iran, second half of the 17th century. Gold, wood, precious stones, leather, brocade, pearls; chasing, enamel, weaving, needlework. @The Moscow Kremlin Museums
books&souvenirs
This catalogue accompanies the exhibition of the same name at the Moscow Kremlin Museums, telling the story of the legends that have surrounded the relics of the Armoury Chamber over the centuries, most vividly manifested during the Romantic period of the first half of the 19th century. It presents over 130 items — state regalia, arms and armour, horse harnesses, graphics and paintings, and silver works from the collections of many leading Russian museums.
The catalogue is on sale in the museum shop opposite the Patriarch’s Palace, in the Alexander Garden, Armoury Chamber, in the exhibition hall of the Assumption Belfry.
3000 rub.
exhibition catalogue
Price
The second article is dedicated to the historical formation of the legend of the Monomachos’s Gifts, according to which the Monomakh’s Cap and some other ancient royal insignia appeared at the Russian court in the 12th century as gifts from the Byzantine Emperor Constantine IX Monomachos to the Grand Prince of Kiev Vladimir Monomakh. The article pays special attention to the work of A.F. Malinovsky — one of the first authors of historical descriptions of the Armoury Chamber.
Two opening articles introduce the catalogue. The first article provides the reader with the peculiarities of Romanticism as a pan-European phenomenon at the turn of the 18th and 19th centuries and describes its influence on Russian culture. It also shows how the characteristics of Romantic thought influenced the formation of professional historical science and were reflected in the study of the pieces kept in the Armoury Chamber.
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