Bolʹshaia t︠s︡erkovʹ Zimnego dvort︠s︡a

Bolʹshaia t︠s︡erkovʹ Zimnego dvort︠s︡a

by S. F. I͡Anchenko

Part of Zaly i zdanii︠a︡ Ėrmitazha

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Today's Hermitage Museum grew out of the palace built for the Russian imperial family in the 1750s, a central part of which was the church that Rastrelli incorporated into the palace. In the gilded and carved details of its walls and iconostasis, the Hermitag's Large Church typifies the baroque as that style took shape in Russia. In the painted ceiling and icons Russian, Italian, and French painters worked side by side, and the tension between Russian Orthodox styles and those of Western Europe created a unique amalgam of religious art. During the restoration after the fire of 1838 Emperor Nicholas I charged V.P. Stasov with faithful restoration of the originals, for which Stasov enlisted such artists as P.V. Basin, K.P. Briullov, and F.A. Bruni. -- Summary written by John W. Emerich, Bronze Horseman Literary Agency.

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  1. 1

    The description highlights the "tension between Russian Orthodox styles and those of Western Europe." In what specific ways does the book illustrate this stylistic synthesis within the Large Church, and what does this unique amalgam suggest about Russia's cultural identity during this period?

  2. 2

    Emperor Nicholas I's directive for a "faithful restoration of the originals" after the 1838 fire is a key detail. What does the book reveal about the challenges and philosophy behind this approach, and how might it differ from other preservation philosophies you've encountered in art or architecture?

  3. 3

    The Large Church served as a central sacred space within the imperial palace. How did the book's depiction of its artistry and function impact your understanding of the role of religious art and architecture in a society, and do you have a personal experience with a space that evokes a similar sense of awe or significance?

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