Court Gastronomist. Menus of the Imperial Court

PHOTO: Архив придворного гастронома. Меню трапез российского императорского двора / The Archive of the Court Gastronome. Menus and Meals of the Russian Imperial Court and recipe supplement

NOTE: this post is for information purposes only. Due to the current Western economic sanctions against Russia, it is currently not possible to order this book from Russia. Nor do I know of any bookseller outside of Russia that offers this title for sale – PG

the State Hermitage Museum has issued a very interesting new book Архив придворного гастронома. Меню трапез российского императорского двора / The Archive of the Court Gastronome. Menus and Meals of the Russian Imperial Court. The publication of this book is a joint project of the State Hermitage Museum (St. Petersburg), the retail company Magnit and the Hermitage 21st Century Foundation.

This title has been published in a limited edition printing of only 1,000 copies. It is only available in Russian, there is no English edition, nor is one planned. Below, are a small sampling of some of the beautiful menus of imperial banquets, created by outstanding Russian artists: Viktor Vasnetsov (1848-1926), Ivan Bilibin (1876-1942) and others.

The book contains several sections: coronation celebrations and major Russian holidays, regimental and order dinners, diplomatic receptions, wedding banquets, Orthodox feasts, hunting meals, yacht dinners. Each section contains a detailed description of the historical era and celebrations with colourful menus and illustrations.  

Leafing through the pages of the Archive of the Court Gastronome, readers will learn what privileged guests were served at the coronations of Emperors Alexander III and Nicholas II, how the tables were set for wedding celebrations of members of the Imperial Family, what was served during the gala dinner in honour of the 300th anniversary of the Romanov dynasty in 1913, as well attributes of meals served in the Imperial residences, hunting lodges, Imperial yachts and much more.

The authors of the book include: Yulia Vadimovna Sharovskaya – head of the Fine Art Sector of the State Hermitage’s Department of the History of Russian Culture; Irina Radikovna Bagdasarova – leading researcher in the Department of the History of Russian Culture.

In addition, the publication has a special printed supplement with recipes. These are recipes which have been adapted to modern times, taken from pre-revolutionary cookbooks. The recipes were reproduced by the Gastronom.ru team in their own kitchens, using up-to-date ingredients and cooking methods.

Some of the recipes from this book can be found at the Gastronom.ru web site, as part of the Tsar’s Kitchen project. These recipes [in Russian only] provide an opportunity for food-lovers to taste some of the delicacies enjoyed by members of the Imperial Family and their guests more than a century ago.

© Paul Gilbert. 8 March 2025

30th anniversary of the return of the “Traitor Grand Duke” Kirill’s remains to Russia

Grand Duke Kirill Vladimirovich and Grand Duchess Victoria Feodorovna. 1930.

Today – 7th March 2025 – marks the 30th anniversary of the return of the remains of *Grand Duke Kirill Vladimirovich (1876-1938) and his wife *Grand Duchess Victoria Feodorovna (1876-1936) to Russia.

On 7th March 1995, the dying will of the traitor grand duke in exile – Kirill Vladimirovich and his wife Grand Duchess Victoria Feodorovna was fulfilled. Their remains, were exhumed from Coburg, Germany and transferred to St. Petersburg, where they were reinterred in the Grand Ducal Mausoleum of the Saints Peter and Paul Cathedral in the Peter and Paul Fortress.

PHOTO: The Ducal Mausoleum, the burial place of members of the House of Saxe-Coburg-Gotha on the grounds of Glockenberg Cemetery in Coburg.

On 3rd March 1995, at 11:30 a.m., in the Tomb of the House of Saxe-Coburg and Gotha, in the presence of Princess Leonida Georgievna (1914-2010), the tombs of Kirill and Victoria were opened. After the removal of the tombstones, a niche with both coffins opened. Their outer plating had fallen into extreme disrepair and fell apart when touched. During the dismantling, metal crosses with lids and plates were found (one with the name, title and dates of the life of Victoria Feodorovna, and the other with the monogram of Kirill Vladimirovich). Then the inner coffins, in which the bodies rested, were brought to the surface. The remains of Victoria Feodorovna were the first to be examined. Her skeletonized remains were preserved in the same position in which the deceased had been laid in the coffin.

PHOTO: The coffins of Grand Duke Kirill I Vladimirovich and Grand Duchess Victoria Feodorovna before being transferred from Coburg to St. Petersburg.

After the transfer of the remains of Victoria Feodorovna to a new coffin, the exhumation of the body of her husband took place. The coffin of Kirill Vladimirovich had a glass window through which it was possible to see the face of the deceased. Looking through this window in 1995, those present at the exhumation were shocked: the decayed face of the grand duke was revealed. Its features had not changed much 57 years after his funeral in 1938.

PHOTO: a rather morbid photo depicting the decayed body of Grand Duke Kirill Vladimirovich in his coffin, taken in the Tomb of the House of Saxe-Coburg and Gotha during the exhumation, 3rd March 1995.

When the remains of Kirill and Victoria were placed in new coffins, Archbishop Feofan (Galinsky) of Berlin and Germany served a pannikhida [a liturgical solemn service for the repose of the deceased]. Finally, the lids are closed, the coffins are sealed and covered with national flags. After a heartfelt farewell to Vladyka Feofan, Princess Leonida Georgievna departed Coburg to escort the coffins to Russia on the ship Anna Karenina.

PHOTO: view of the Grand Ducal Mausoleum of the SS Peter and Paul Cathedral in the Peter and Paul Fortress, St. Petersburg, where Kirill and Victoria’s remains were reinterred in March 1995.

On 6th March, the first day of Great Lent, the Spanish-born Princess Maria Vladimirovna, arrived in St. Petersburg by plane with her son, Prince George Mikhailovich-Hohenzollern. The next day, early in the morning, the Anna Karenina arrived. From the port, the cortege proceeded to the Peter and Paul Fortress, where the coffins were carried into the Saints Peter and Paul Cathedral.

The burial ceremony was scheduled for 12-00. After the arrival of the Leonida, Maria and George, the clergy, Mayor of St. Petersburg Anatoly Sobchak (1937-2000) and representatives of the administration of St. Petersburg, a pannikhida was held, which was served by Bishop Lev (Tserpitsky) of Novgorod Bishop Simon (Getya) of Tikhvin. At the end of the pannikhida, the coffins were lowered into pre-prepared niches with military honours.

PHOTO: Princess Maria Vladimirovna pays her last respects to her grandfather and grandmother, Grand Duke Kirill Vladimirovich and Grand Duchess Victoria Feodorovna. The Grand Ducal Tomb of the Peter and Paul Cathedral, St. Petersburg, 7th March 1995.

Temporary slabs were installed on the graves (later they were replaced by permanent marble ones) and wreaths were laid. The traitor Grand Duke and his wife found eternal repose next to their son Prince Vladimir Kirillovich (1917-1992).

It was Kirill’s daughter-in-law Princess Leonida, who arranged for Kirill and Victoria’s reinterment in St. Petersburg. It was only due to her vast wealth, left to her by her first husband Sumner Moore Kirby. (1895-1945), a wealthy American businessman, and one of the heirs to the F.W. Woolworth fortune. The cost of new coffins, transport to Russia, two tombs with marble slabs must have been staggering!

Given Kirill’s lack of a moral compass and his act of treason against his Sovereign in March 1917, it is this author’s belief that Kirill and Victoria’s remains should have never left in Coburg – PG

***

Under no pretext can we admit to the throne those whose ancestors belonged to parties involved in the 1917 revolution in one way or another. Nor can we admit those whose ancestors, who betrayed Tsar Nicholas II. Nor can we ignore those whose ancestors who openly supported the Nazis. Thus, without any reservations, the right to the succession to the throne of the Kirillovich branch should be excluded!

Any person who supports this branch of the Romanov dynasty, dishonours the memory of the murdered Holy Tsar Martyr Nicholas II.

© Paul Gilbert. 7 March 2025

18th century Chandeliers returned to the Alexander Palace State Halls

PHOTO © Tsarskoye Selo State Museum-Reserve

The restoration of the interiors of the Alexander Palace at Tsarskoye Selo continues . . . On 5th March 2025, three 18th century chandeliers were restored and returned to the palace’s beautiful ceremonial halls.

Recall that in 2012, “cosmetic repairs” were carried out in the Portrait Hall, the Semi-Circular Hall and the Marble (Billiard) Room. In June 2010, the State Halls, which are situated in the central part of the palace – between the east and west wings – were solemnly opened to visitors, as part of events marking the 300th anniversary of Tsarskoye Selo. However, despite the best efforts of curators, limited restoration funds, and dispersed collections, meant that the presentations were somewhat sparse and of varying quality. The State Halls were closed again in the Autumn of 2015 for additional restoration work, and reopened in 2021.

The three restored chandeliers were created according to a drawing by the famous Italian architect Giacomo Quarenghi (1744-1817), who constructed the Alexander Palace between 1792–96. The chandeliers were made of made of bronze, glass and crystal, and designed to hold 100 candles each. They are the largest and heaviest chandeliers in the museum’s collection and designed for such a large number of candles. Each chandelier stands 3.5 meters [11.5 ft.] high, and weighs more than 240 kilograms [530 lbs.]. The restoration work was carried out by specialists from the Yuzhakova Studio workshop in St. Petersburg.

PHOTOS © Tsarskoye Selo State Museum-Reserve

“In the process of work, the chandeliers were dismantled into parts and cleaned and polished. The restorers repaired bronze tears, cracks, caverns and filled in the areas of lost gilding. The missing parts were recreated according to existing analogues. If you look at these chandeliers, you will see that their crystal headdress is extremely rich and diverse – they are generously decorated with numerous garlands, pendants, obelisks of different sizes and faceted rosettes. The craftsmen also restored the chips and made up for the losses on the central bulb of ruby glass. Working with such a fragile material, especially in such a volume, requires the utmost delicacy and skill,” said Ekaterina Stadler, curator of the Museum Metal Collection.

The restorers also replaced the old electrical wiring, the final touch was the manufacture of milk glass tubes imitating candles.

Initially, the chandeliers were created for the St. George Hall of the Winter Palace, but they were not installed at the time. The initial order called for eight chandeliers, however, only three were made by the Johann Zech bronze foundry in St. Petersburg. At the time, the chandeliers were made to hold 50 candles each. After the death of Empress Catherine II, her son Emperor Paul I ordered the chandeliers to be installed in the halls of his new residence – the Mikhailovsky [aka Engineers] Castle in St. Petersburg. Following the death Emperor Paul, the chandeliers were returned to the Winter Palace.

PHOTOS © Tsarskoye Selo State Museum-Reserve

PHOTOS © Tsarskoye Selo State Museum-Reserve

The chandeliers were transferred to Tsarskoye Selo in 1830. Russia’s first Minister of the Imperial Court, Pyotr Mikhailovich Volkonsky (1776-1852), wrote: “His Majesty the Emperor [Nicholas I] deigned to repair the four large chandeliers that were in the Concert Hall of the Winter Palace, and then send three of them to Tsarskoye Selo to Lieutenant General Zakharzhevsky <… > where they should be hung in a large drawing room or a large hall.”

The compositional basis of the chandeliers is a massive openwork rim with a glass tray at the bottom and a central stem with ruby glass balusters. The entire structure is attached on chains converging to a socket with a bump topped with a “fountain” with pendants. The combination of gilded bronze and the glare of crystal, especially when candles were lit, created an unusually decorative visual effect.

PHOTOS © Tsarskoye Selo State Museum-Reserve

PHOTOS © Tsarskoye Selo State Museum-Reserve

The chandeliers were placed in three halls of the ceremonial enfilade of the New (Alexander) Palace – the Semicircular and Portrait Halls and the Marble Drawing Room. In 1848, by order of Empress Alexandra Feodorovna, born Princess Charlotte of Prussia (1798-1860), 50 candle horns on two newly made thin hoops were added, bringing a total of 100 candles to each chandelier for better lighting. In the early 1900s – during the reign of Emperor Nicholas II – the chandeliers were electrified. During the Great Patriotic War [1941-45], the chandeliers were evacuated: one chandelier to Novosibirsk, two to Sarapul.

Recall that the first 13 interiors of the Alexander Palace – the personal apartments of Emperor Nicholas II and his wife Alexandra Feodorovna – opened to visitors in August 2021. In February 2023, work was completed in the Marble Hall with a slide. The restoration of the palace and its adaptation to modern use continues. In 2025, the Western wing of the palace is scheduled to open to the public.

© Paul Gilbert. 6 March 2025

The favourite tunes of Nicholas II and his Family – Part 3

This third video features another tune, which was apparently a favourite of Emperor Nicholas II and his Family. Click on the image above to listen to Осенний сон / Autumn Dream, a waltz. [Duration: 3 minutes, 27 seconds].

The music of the waltz “Autumn Dream” was written by the English pianist and composer Archibald Joyce (1873-1963) in 1908, who wrote a whole series of waltzes loved by listeners and even received the unspoken title of “King of Waltzes”.

In 1909, he came to Russia where he performed concerts, after which “Autumn Dream” immediately gained popularity. A few years later, records were released in huge editions, and “Autumn Dream”, along with other popular works by Joyce, began to be referred to as “old Russian waltzes”.

Several attempts were made to write lyrics to this music. The first to do this was Prince Feodor Nikolaevich Kasatkin-Rostovsky (1875-1940), who dedicated poems to Baroness Olga Nikolaevna Taube. But they did not receive recognition among the public. In the pre-war years, other poets tried to write lyrics to this opera, but the most popular was the version of Vasily Ivanovich Lebedev-Kumach (1898-1949).

NOTE: the translation is not perfect, but it will give you the gist of the lyrics – ENJOY!

The autumn wind blows off the leaves,
All nature is full of sadness.
Only hope does not die —
The heart knows: spring will come.

And sorrows, and bad weather —
Everything will pass like autumn rain.
There will be joy, there will be happiness,
And the warm sun will rise!

You have had enough of crying, maples, birches,
You can’t collect old leaves.
It’s enough to shed big tears for you,
The spring day will come again.

Soon the autumn of separation will pass,
The green leaf will grow again,
Dear hands will embrace us again,
There will be joy, love will come.

Set against the background of this opera are a number of images (some of which have been photoshopped) depicting Emperor Nicholas II and Empress Alexandra Feodorovna set against the autumn colours of the Alexander Park at Tsarskoye Selo. In addition are vintage newsreels and photos of the Imperial Family.

The vocals of this waltz is performed by the famous Russian soloist Irina Krutova, who perform Russian romances and classical music, accompanied by soloists of the State Academic Russian Concert Orchestra. The video was created by Irina Koroteeva (Moscow).

NOTE: Stay tuned for additional videos, featuring more favourite tunes of Nicholas II and his family.

More favourite tunes of Nicholas II and his family:

Part 2 – Я ехала домой / I was on my way home

Part 1 – Утро туманное (Misty Morning)

© Paul Gilbert. 4 March 2025

NEW BOOK – ‘Anya’: Anna Alexandrovna Tanyeva Vyrubova

*You can order this title from most AMAZON outlets worldwide,
Including the United States, Canada, United Kingdom and Australia.
*Note: prices are quoted in local currencies

CLICK HERE TO ORDER THE PAPERBACK EDITION @ $20.00 USD

Language: English. 204 pages. More than 70 black and white photos

This is the first English language study of Anna Alexandrovna Vyrubova (1884-1964), the famous lady-in-waiting to Russia’s last empress Alexandra Feodorovna, and devoted adherent of Grigorii Rasputin. She was known within the Imperial Family as “Anya”.

This new book features 7 chapters covering a wide variety of topics: the story of Anna’s life; a moral portrait of her memoirs – published in the 1920s and forgeries published – as a means to discredit her – during the Soviet years; Anna’s house in Tsarskoye Selo; a 1917 interview with Anna following her imprisonment; her life in exile in Finland and Sweden; the fate of her photo albums and efforts to have her canonized.

Vyrubova died in exile on 20th July 1964, at the age of 80. She was buried in the Orthodox section of Hietaniemi cemetery in Helsinki.

This volume features more than 70 black and white photographs, including images of her siblings, Anna in her wedding dress and rare photos of her life in exile in Finland.

***

MEMORIES OF THE RUSSIAN COURT

The return of an old favourite . . . the first English language edition of ‘Memories of the Russian Court’ was published in 1923. This new edition is available in hard cover, paperback and eBook/Kindle editions. This popular classic is available in hard cover for the first time in more than 30 years! . . . . .

CLICK HERE FOR MORE DETAILS ABOUT THIS TITLE

© Paul Gilbert. 1 March 2025

Nicholas II’s porcelain project presented in St. Petersburg

Earlier this week, a new exhibition opened in St. Petersburg, featuring items from the Imperial Porcelain Factory. The exhibition was organized by the Russian State Historical Archive (RGIA) in St. Petersburg and the Imperial Porcelain Factory [established in 1744].

The highlight of the exhibition is a unique porcelain series “Peoples of Russia”, which represents the peoples of the former Russian Empire. The series was and remains the largest project in the history of the Imperial Porcelain Factory, created by the personal order of Emperor Nicholas II.

In addition, are more than 200 archival documents dedicated to the history of the Imperial Porcelain Factory and the author of the “Peoples of Russia” series, sculptor Pavel Pavlovich Kamensky (1858-1922). The documents include Kamensky’s personal files, letters, and documents on the procedure for making the porcelain series. Many of these documents are exhibited for the first time.

The “Peoples of Russia” series of porcelain figurines was created between 1907-1917 by order of Emperor Nicholas II. The series was created to mark the celebration of the 300th anniversary of the Romanov Dynasty in 1913. The series represents the 73 nationalities of the Russian Empire, according to the results of the first General Population Census of 1897.

Kamensky managed to create over 150 figures, depicted in their respective national costumes. The sculptor relied on a wide range of historical, ethnographic and anthropological materials from the collections of the Kunstkamera and the Museum of Alexander III [State Russian Museum].  He was assisted by a team of molders and painters – Anatoly Lukin, Pavel Shmakov, Ivan Zotov, Andrei Dietrich, Lyudmila Midina and others.

Nicholas II personally evaluated the new statuettes of the series. Every year before the Christmas holiday from 1907 to 1914, several new figures were brought to the Alexander Palace at Tsarskoye Selo, and shown to the Emperor.

The majority of the original “Peoples of Russia” figurines are today in Collection the Porcelain Museum of the State Hermitage in St. Petersburg. In addition, there are 47 figurines in the collection of the Russian Museum of Ethnography in St. Petersburg.

Copies of these beautiful figurines are still manufactured at the Imperial Porcelain Factory in St. Petersburg, and available to purchase by collectors.

© Paul Gilbert. 28 February 2025

Rasputin’s alleged will hidden in KGB archives for 80 years

PHOTO: Rasputin holding a framed photo of the Imperial Family. Artist unknown.

DISCLAIMER: for the record, I do not support any of the conspiracy theories related to the Imperial Family and those close to them. During the past week, the subject of this post was discussed in the Russian media, and I thought that it would be of interest to some readers. Upon reading the article, you are free to draw your own conclusions – PG

At the end of the 20th century, reports appeared in the Russian press that the will of Grigorii Rasputin, had been discovered in the archives of the First Chief Directorate of the KGB of the USSR in Moscow.

Rasputin’s alleged will contained mysterious prophecies about the future of Russia and the world. The eleven-page document was kept secret for 80 years, as were the personal documents of Russia’s last Imperial Family. Recall that it was Stalin who had these documents sealed, they were even forbidden to Soviet historians, with the exception of course, for propaganda purposes. The archives were only unsealed in the 1990s, after the fall of the Soviet Union.

Grigorii Yefimovich Rasputin (1869-1916), was assassinated on 30th December [O.S. 17th] 1916, by a group of conservative nobles led by Prince Felix Yusupov (1887-1967), and whose death still attracts the attention of historians.

According to the memoirs of Aron Samuilovich Simanovich[1] (1872-1944), who became the strannik’s[2] personal secretary, Rasputin predicted his own demise and the future of Russia. Simanovich claims that shortly before his death, Rasputin summoned the lawyer Aronson to draw up a will, in which he described the fate awaiting the Imperial Family. Simanovich, finding himself in emigration, in 1921 published the text of the will, which according to him, was read by Nicholas II only after the death of Rasputin.

Rasputin predicted that he would meet a violent death before January 1917 and if he was killed by the nobles, then war would break out in Russia, and the Russian nobility would suffer greatly. This warning is especially relevant, because Grand Duke Dmitri Pavlovich (1891-1942), a cousin of Nicholas II, participated in the conspiracy.

In the 1990s, information appeared in the Western press that an American historian David Norwalk found the full text of the will in the KGB archives in Moscow. In his will, Rasputin further predicted not only the 1917 Revolution, but also the collapse of the Soviet system. Vasily Vedeneev, author of the book «100 великих тайн России ХХ века» (100 Great Secrets of Russia of the Twentieth Century), confirmed that the document had been sealed by Soviet authorities. The will spoke of the emergence of a “new empire” – the Soviet Union and its future collapse. Rasputin also predicted the war with Germany resulting in a victory for Russia.

Many believe question the authenticity of Norwalk’s claim, and with good reason. His discovery appeared in the dubious American tabloid Weekly World News, known for renowned for its outlandish cover stories and for spreading fake news. Some sources claimed that Rasputin’s will did not exist, lost or destroyed. In his notes, Grigorii Rasputin wrote more about his role in history and the fight against secular power, than about global catastrophes.

FURTHER READING:

The prophesies of Grigory Rasputin

NOTES:

[1] In emigration, Simanovich wrote the book «Распутин и евреи. Воспоминания личного секретаря Григория Распутина» (Rasputin and the Jews. Memoirs of Grigory Rasputin’s Personal Secretary), in which he writes about his relationship with Rasputin. It was first published in 1921 in Russian. Following the 1917 Revolution, Simanovich fled the Bolsheviks, first to the United States and then France. During the German occupation of France, he was interned in a camp for stateless persons, then deported to Auschwitz, where he died on 31st July 1944.

[2] Rasputin is often described as a monk, however, this is incorrect. He was a strannik (wanderer or pilgrim), though he held no official position in the Russian Orthodox Church. 

© Paul Gilbert. 27 February 2025

Louis Mountbatten on his Romanov relatives

Louis Francis Albert Victor Nicholas Mountbatten, 1st Earl Mountbatten of Burma (born Prince Louis of Battenberg (1900-1979), reflects on his Romanov relatives . . . [Note: Emperor Nicholas II was his maternal uncle through marriage and paternal second cousin]: 

“The Tsar was my father’s first cousin…and the Tsarina was my aunt on my mother’s side. Another aunt, Elizabeth, had married the Grand Duke Serge. So our Russian connections were very close. We used to see each other quite often either in Germany, or in Russia. I loved my Russian family and I loved Russia too.

These old family photograph albums bring back memories of all the happy times we had together in that almost unbelievable world before the Revolution. In this photo with my cousins I was just ten…my little cousin the Tsesarevich Alexei is in the carriage. He was heir to the Russian throne and was younger than me by about four years and in very poor health sometimes… he was a haemophiliac, which was a great worry to us all.

…Olga, Marie, Anastasia and Tatiana were all very beautiful. I remember I had always secretly hoped to marry Marie.

Russia was an autocracy at that time, the Tsar had absolute power and was answerable only to God. Yet anyone less like an autocrat than my uncle Nicky would be hard to imagine…he was a very, very kind-hearted simple charming man. But at the same time he was rather weak and indecisive.

He was never happier than when he was outside playing with his children. I remember he would purchase us all chocolate-ices, and after, settle down with a long book to read quietly in peace

And now, all that was finished. All the happy memories were things of the past…

My uncle had lost his throne – he, my aunt, and all my cousins were under arrest. We were shocked and dismayed but we didn’t dream of the terrible things which were yet to come… I don’t think anyone could of.

We had very little news of the family after the Bolsheviks took over. We all hoped they would be safe but we feared the worse. It was a very long time before we heard of all the details…which were quite….horrible… They were all shot together. Alexei and one of his sisters did not die immediately…Even their doctor and their helpers were murdered with them. Soon after, my aunt Elizabeth who had loved children and orphans and nursing people back to health so much, was also murdered by being flung down a mineshaft and buried alive.

These sad deeds cast a shadow over the whole of our family, for a very, very long time…”

© Paul Gilbert. 21 February 2025

Reconstruction of the Imperial Pavilion in Tsarskoye Selo

PHOTO: historical look of the Imperial Railway Pavilion at Tsarskoye Selo

The Imperial Railway Pavilion in Tsarskoye Selo was built according to the project of the architect Vladimir Aleksandrovich Pokrovsky (1871-1931). It was constructed in the Neo-Russian style, beloved by Nicholas II. The station became the main terminus for the Imperial Train.

The building was located on the third branch of the Imperial Railway, which connected the Vitebsky Railway Station in St. Petersburg with Tsarskoye Selo. This special branch was built for the purpose of transporting the Emperor, members of the Imperial Family, government ministers and foreign delegations to and from the capital. During the First World War, the Imperial Train transported Nicholas II to the headquarters of the Russian Imperial Army, in Mogilev.

Many historians note that it was from the Imperial Railway Station at Tsarskoye Selo, that the Imperial Family departed for their last journey to Tobolsk in August 1917. This is incorrect. The Imperial Family were sent into exile from the Alexandrovskaya Station – Tsarskoye Selo’s third railway station on 14th (O.S. 1st) August 1917.

PHOTO: contemporary map showing the location of the Imperial Train Station and it’s proximity to the Alexander Palace in Tsarskoye Selo.

On 25th January 1911, the original wooden pavilion was lost as a result of a fire, only the platform and part of the canopy survived. On the site of the lost pavilion, a new stone building, according to Pokrovsky’s plan was erected in 1912. A special road – which has survived to this day – was laid through the Fermsky [Farm] Park leading to the Alexander Palace. 

The architectural style of the Imperial Pavilion – asymmetry, window design, “checkerboard” roof with steep slopes, tented porch) makes it akin to the buildings of the nearby Feodorovsky Gorodok [Town], the Feodorovsky Sovereign Cathedral, the Sovereign Military Chamber and the barracks of His Imperial Majesty’s Own Convoy. Together, they formed an architectural ensemble in which motifs of ancient Russian architecture were widely used. The original red-brick façade was plastered and painted white by order of the Emperor. It was decorated with relief white-stone double-headed eagles above the arches and on the façade walls, ornamental carvings are made at the portals, figured columns are made on the outer corners of the porch. 

The main part of the building included three halls: in the center there was a square vestibule with a front porch, the halls on the sides of the vestibule were intended for the Emperor and his retinue: on the south side was the Tsar’s Hall, on the north – the Retinue’s Hall. A metal canopy above the platforms and tracks, adjacent to the eastern façade of the pavilion, served to receive trains. A ramp was added to the main entrance, allowing motorcars and carriages to drive directly under the arched opening of the front porch.

The paintings on the walls and ceilings in the halls are made in the tempera-glue technique on plaster. Polychrome ornamental painting is a stylized borrowing of elements of the pictorial décor of the interior design of the palace of Tsar Alexei Mikhailovich (1629-1676) in Kolomenskoye, near Moscow. The unique painting, which has partially survived to this day, is an integral part of Pokrovsky’s design. The vaults of the inner chambers were painted by the artist Mikhail Ivanovich Kurilko (1880-1969).

During the First World War of 1914-1917, the Imperial Railway Station served to transport wounded Russian soldiers to the hospital set up in Feodorovsky Gorodok.

PHOTOS: for decades, the Imperial Railway Pavilion at Tsarskoye Selo
has been left in a shocking state of neglect and disrepair 

In 1918, the station was renamed the Uritsky Pavilion [after Moisey Solomonovich Uritsky (1873-1918), a prominent Bolshevik and chairman of the Petrograd Extraordinary Commission]. Initially, it was used as a dormitory for workers of the Track Repair Mechanical Plant. The Tsarist emblems were removed from the tent above the wing, the ceremonial halls were divided by makeshift walls, the porch was adapted for use as a kitchen. The Imperial Pavilion’s furniture, lamps, objects of decorative and applied art were all lost. The hundred-meter landing stage was dismantled in the 1930s.

In the summer of 2023, work began on on the restoration of the Imperial Railway Pavilion to it’s historic original, under the direction of  the Tsarskoye Selo Station Foundation. Below are the artist concepts of what the Imperial Railway Pavilion will look like following it’s restoration:

© 2024 First Design Institute

© 2024 First Design Institute

© 2024 First Design Institute

© 2024 First Design Institute

© 2024 First Design Institute

Aside from being a museum, there are plans to use the restored Imperial Pavilion for other purposes, including a Wedding Palace. In addition, the façade of the building, it’s rich interiors and painted vaults will be offered as an ideal place for celebrations and photo shoots.

FURTHER READING:

This author has been closely following the progress of this project since August 2023. Below are my articles which provide details on the restoration of this historic building, among others on the Imperial Train of the last Russian Emperor . . . .

Imperial Railway Pavilion in Tsarskoye Selo is being restored – features 13 photos of the initial restoration work

Update on the restoration of the Imperial Railway Pavilion at Tsarskoye Selo

Artist concept of Imperial Railway Pavilion restoration project at Tsarskoye Selo – features VIDEO

The sad state of the Imperial Railway Pavilion at Tsarskoye Selo – features 20 photos!

Imperial Railway Pavilions during the reign of Nicholas II

The fate of Nicholas II’s Imperial Train – features 8 historic photos

© Paul Gilbert. 19 February 2025

Thousands of items at Pavlovsk have not been returned to the Alexander Palace

In 1951, by a government decree, the Alexander Palace was transferred to the Ministry of Defense of the USSR. The Naval Department used the building as a top-secret, submarine tracking research institute of the Baltic Fleet.

Any hope of the Alexander Palace being reopened as a museum – as it was before the Great Patriotic War (1941-45) – were now lost. The palace’s collection, which consisted of thousands of items, and which had been part of the evacuated items held in the Central Depository of Museum Collections of Suburban Palaces-Museums, were at this point transferred to the Pavlovsk Palace State Museum.

From 1951, the Alexander Palace would remain strictly off-limits to visitors for the next 45 years. When it appeared that the Soviet Navy intended to vacate the complex, the Alexander Palace was included in the 1996 World Monuments Watch by the World Monuments Fund (WMF).

In the summer of 1997, a permanent exhibition dedicated to Emperor Nicholas II and his family was opened in the Eastern Wing of the palace. It was at this time that my annual Romanov Tour became the first group from the West to visit the interiors of the Alexander Palace.

Despite the exhibition, the rest of the palace remained under the administration of the Naval Department, who continued to occupy the Western Wing. It is due to their occupancy in this section of the palace, that very few of the original interiors and their elements survived.

PHOTO: he Alexander Palace at Tsarskoye Selo, as it looked in the 1990s, when the palace was still surrounded by a security fence and watchtower.

It was not until October 2009, according to the order of the Federal Property Management Agency, that the Alexander Palace was placed under the administration of the Tsarskoye Selo State Museum Reserve.

After an extensive restoration project which began in the autumn of 2015, the private apartments of Emperor Nicholas II and Empress Alexandra Feodorovna opened to public on 13th August 2021.

Visitors to the Alexander Palace can now visit the New Study of Nicholas II, Moorish Bathroom of Nicholas II, Working Study of Nicholas II, Reception Room of Nicholas II, the Valet’s Room, PLUS the Maple Drawing Room, Pallisander (Rosewood) Living Room, Mauve (Lilac) Boudoir, Alexandra’s Corner Reception Room, the Imperial Bedroom, the Small and Large Libraries and the Marble/Mountain Hall.

Today, more than 6 thousand items from the funds of the Tsarskoye Selo State Museum-Reserve are displayed in the recreated interiors of the Alexander Palace.

In a recent interview with Art Newspaper Russia, the Director of the Tsarskoye Selo State Museum-Reserve Olga Taratynova talked about the restoration of the Alexander Palace and the reconstruction of the Private Apartments of Emperor Nicholas II and Empress Alexandra Feodorovna.

“The Alexander Palace suffered much less than the Catherine Palace,” said Taratynova. “Unlike the Catherine Palace, it was not destroyed by fire [as a result of shelling by the Nazis]. Instead, it endured a different fate. The Alexander Palace served as the residence of the family of the last Emperor, and it is a miracle that anything survived at all,” she added.

“For Alexander] Pushkin’s anniversary in 1949, an exhibition dedicated to him was opened in the palace, and for this purpose, a number of interiors were lost. Soviet dogma of the time believed that Art Nouveau was a decadent style, citing no need to preserve it. And then the building was transferred to the Ministry of War. In 2009, when the Alexander Palace was transferred to us [the Tsarskoye Selo State Museum-Reserve], we quickly carried out “cosmetic repairs” in three of the State Halls and opened them to the public. But all the things were in Pavlovsk. They were transferred there in 1951, and have remained there ever since, Taratynova continued”

PHOTO: Director of the Tsarskoye Selo State Museum-Reserve Olga Taratynova

“In preparation for the reopening of the Private Apartments of Nicholas II and Alexandra Feodorovan in 2021, they [Pavlovsk State Museum] gave us about 200 items from their collection for “temporary use”. We knew from inventories and photographs, that these items originated in the Alexander Palace], and knew exactly where they were historically located. So I can’t complain, Pavlovsk assisted us. But they did not return everything, of course, because many of the items have been on display in Pavlovsk Palace for many years now.” [On the third floor of the latter palace is dedicated to the history of Russian furniture, many items from the Alexander Palace are on display here – PG].

“Now in the Alexander Palace, we have tried to create the atmosphere of a beloved home. This was really the case – a closed space, where Nicholas II invited only a small circle of close friends and trusted associates. And in the apartments of Alexandra Feodorovna and the children, only extended family members and devoted servants were allowed. We tried to focus on the atmosphere, we even added sound: in some rooms, for example, you can hear, the sounds of billiard balls, in others – a distant piano playing. There are also smells – first of all, the scent of lilacs, because Alexandra Feodorovna loved them very much, they now bloom in her rooms. We revived this tradition two years ago, our gardeners have been growing lilacs even in winter,” Olga Taratynova concluded.

***

Prior to the outbreak of the Great Patriotic War in 1941, the Alexander Palace housed more than 52.5 thousand items, of which more than 44.8 thousand items were lost [destroyed or stolen] between 1941 to 1945. From the 7.7 thousand items which survived, a significant part of the items are now in the collection of other museums in Russia. Among these were 5,615 items, which were moved from the Alexander Palace to the Pavlovsk State Museum Reserve in 1951. Of these, nearly 200 pieces were originally from the Alexander Palaces’ three ceremonial halls: the Portrait, Semi-Circular and Marble Halls. These include 39 pieces of porcelain, 41 paintings, 73 decorative bronze pieces, and 28 pieces of furniture.

Since the fall of the Soviet Union in 1991, and in particular since the restoration of the Alexander Palace, the return of these objects has been a bone of contention between the two palace-museums. During a visit to Pavlovsk several years ago, I raised the subject with one of the Directors [who shall remain anonymous] at Pavlovsk. “If we return these exhibits to the Alexander Palace, then we [Pavlovsk] will have nothing,” he declared.

Personally, this author believes that Pavlovsk have a moral responsibility to return all of the items transferred there in 1951. The history of these items is connected to the Alexander Palace, not Pavlovsk Palace. It seems that the current Minister of Culture of the Russian Federation Olga Lyubimova, should step in to right this historic wrong. Let us hope that she does the right thing, and order the return of the 5,615 items to the Alexander Palace, where they can be put on display in the rooms from which they originated.

© Paul Gilbert. 18 February 2025