Translation. Region: Russian Federation –
Source: Moscow Government – Moscow Government –
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Three years, which seemed like a long time to Muscovites but like a flash to restorers, marked the active phase of restoration of the Ostankino Palace's Egyptian Pavilion. Today, it is open to visitors and hosts its first exhibition.
Irina Efremova, chief researcher at the State Palace and Park Museum-Reserve, spoke about noble traditions. Ostankino and Kuskovo, curator of the exhibition Visiting Count Sheremetev.
An estate for holidays
While restorers are strengthening the foundations and "hanging" the walls of the Main House and the Italian Pavilion, the Egyptian Pavilion is bustling with activity and hosting the exhibition "Visiting Count Sheremetev."
"All pleasure estates were built specifically for celebrations and magnificent receptions," explains Irina Efremova. "And Ostankino is famous for several such grand receptions: in honor of Paul I, the Polish King Stanisław Poniatowski, and Alexander I."
The program of these visits was carefully planned down to the last detail, like a court ceremony: a tour of the park and palace, a theatrical performance, and then the culmination – a feast.
Luxury and minimalism of the Sheremetevs
In the center of the Egyptian Pavilion, banquet tables have been recreated based on authentic late 18th-century drawings preserved in the museum's collection. During one of the receptions, the opera "Zelmira and Smelon, or the Capture of Izmail" was performed, with the prima of the Sheremetev Theater, the serf singer Praskovya Zhemchugova, who later became Countess Sheremeteva, shining on stage.
The exhibition's highlights are the authentic tableware sets used for those very same receptions. "Sheremetev, of course, had plenty of silver and even gold tableware," says Irina Efremova. "But by the end of the 18th century, porcelain and earthenware from the English factory of Josiah Wedgwood became fashionable. Empress Catherine II introduced the fashion for English earthenware."
On the table are several dinnerware sets, one of which is by the English manufacturer Wedgwood, made from the famous cream-colored faience, also known in Sheremetev documents as "pale faience." "Experts believe that faience of this exquisite creamy hue was supplied only to Russia," notes the curator. "This is a characteristic of uniquely Russian taste, dating back to Catherine the Great."
The porcelain is impressive not because of its painting, but because of the elegant simplicity of its decor, fashionable in the late 18th century—it would fit perfectly even in modern minimalist interiors. The shapes are also intriguing: there are numerous terrines (covered bowls for hot dishes) and plate warmers, unique even for museum collections. "Hot water was poured inside, and a dish was placed on top. Why? Because food was brought in from the kitchen outbuilding. These warmers are very rare, but we have them," Irina Efremova proudly says.
The paradox of the Egyptian pavilion, which is actually Roman
The architecture of the Egyptian Pavilion is a play on antiquity, so popular during the Age of Enlightenment. The pavilion is built in the form of an atrium—the courtyard of a Roman house. So why is it Egyptian? "Many Egyptian treasures were found during excavations of Roman cities. At that time, no distinction was made between Antiquity and Egypt," explains Irina Efremova. "It was believed that all of this existed at the same time."
Egyptian motifs are evident in details, such as the sphinxes crowning the stoves. "We've counted just over a hundred sphinxes, decorative elements so fashionable in the late 18th century, throughout the palace's interiors," shares the exhibition curator.
The art of relaxation
The Enlightenment motto "Entertain while edifying" was also embodied in the palace's layout. "The interiors were designed to prevent eye fatigue," explains Irina Efremova. "A large, bright hall alternates with a narrow, darkened gallery. 'Chambers of splendor' with luxurious furnishings gave way to 'chambers of repose' where one could relax a little, achieving perfect posture."
The passage gallery, which was once the "rest chambers," once housed numerous card tables for card games. Before restoration, the gallery served as museum storage. Only now has it become possible to restore this interior.
Count Sheremetev's reconnaissance and his portrait coming to life
For Nikolai Petrovich Sheremetev, the Ostankino Palace was a way to assert his status in competition with other nobles. His main rival was Chancellor Alexander Bezborodko. "He even sent agents to his house to see what was new," explains Irina Efremova. This rivalry drove not only fashion but also art, prompting the creation of ever more exquisite interiors and the staging of ever more grandiose celebrations.
For example, Sheremetev ordered the capitals and bases of the pilasters, as well as the delicate carvings on the door panels and jambs, to be silver-plated (in keeping with the latest fashion). However, over time, the silver oxidized and darkened. When restorers discovered genuine silver plating beneath later layers, it was a true revelation. A special restoration council was convened to decide whether to restore the silver plating or gild the carvings. Ultimately, the decision was made to replace the silver plating with white gold, which does not oxidize and has the same silvery hue. Now the interior appears as it was originally intended during the palace's construction in the 18th century.
At the entrance, guests are greeted by a living portrait of the Count and a detailed interactive model of the Ostankino Palace and garden—you can switch between day and night, when balls began and fireworks exploded.
A real palace
In the 18th century, the Ostankino Theatre-Palace was simply known as a large house. Everything changed after Alexander II's visit to Ostankino in 1856. He spent several days there before his coronation, and the large house was then elevated to the status of a palace. For this event, the interiors were renovated and new furniture was brought in. Alexander II was no longer received by Nikolai Petrovich, but by his son, Count Dmitry Nikolaevich. He did so with no less grace and splendor than his father.
The Egyptian Pavilion was built for entertainment: music, theatrical performances, engaging table conversations, and an atmosphere of joy and creativity reigned. And today, amidst the complex restoration of the palace's other pavilions, the festive atmosphere is once again palpable.
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