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Byzantine Exhibitions in the State Hermitage Museum, 1861-2006

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Byzantine Exhibitions in the State Hermitage Museum, 1861-2006 AN IMPERIAL EYE TO THE PAST: BYZANTINE EXHIBITIONS IN THE STATE HERMITAGE MUSEUM, 1861-2006 Yuri Pyatnitsky The Communist regime and the mental construct of its ideology have been crushed in Russia, as we all know, but the dictum by Vladimir Lenin, the communist leader and idol, that “an individual cannot live in society and be free from society” remains absolutely valid. The idea that “art is for art’s sake” and that “Museums exist only for pure art” is only a romantic dream of some individu- als, not a reality. Admittedly, society’s readiness to respond to artistic traditions, the State and its political aspirations, as well as individual ambi- tions, each have profound infl uences on a muse- um’s life, especially so on its exhibiting activity. Meanwhile, the success of an exhibition gives an impulse for new acquisitions, for new study and, usually, renders the subject matter of the exhibits more popular and fashionable. The best example to illustrate this point is the infl uence exerted by the very successful recent exhibitions held in the Metropolitan Museum of Fig. 1. Piotr Ivanovich Sevastianov (1811-1867). Art, namely, “The Glory of Byzantium” in 1997, Lithography by 1859. The State Hermitage museum. and “Byzantium: Faith and Power” in 2004. And these are not the only cases. The same situation twenty years of impeccable service he resigned in can be attested to in the history of the Byzantine 1851 and devoted his efforts entirely to studying exhibitions in the State Hermitage museum, St. and collecting ancient Christian mementoes. His Petersburg, which spans a period from the middle regular journeys across Europe and the Ortho- th st of the 19 to the beginning of the 21 century, and dox East brought him a reputation as an intrepid in which the Imperial ambitions of Russia were traveller. He fi rst visited the monasteries of the also added to other motivations underlying all of Mount Athos, or Holy Mountain, in 1851, did so 1 these enterprises . again in the summer of 1852 and then, after the Turkish-Russian war in 1857 and 1858, and fi - The fi rst Byzantine exhibition in the Her- nally in 1859-1860, when he spent more than 14 mitage, 1861 months there. The earliest Byzantine exhibitions in Russia are connected to the name of Piotr Sevastianov. Piotr Sevastianov was far more than an amateur of fi ne Ivanovich Sevastianov (1811-1867) was the son of art and an enthusiastic traveler during his Mount a rich merchant from Penza, who received a good Athos visits. Being one of the fi rst people to re- education in law at the University of Moscow and alize the scholarly potential that lay in photogra- held a number of high administrative offi ces in phy, he had traveled to Paris to study this newly the Caucasus, Perm’ and Saint-Petersburg. After discovered art. As he wrote, “in early 1857 I was struck by the diversity of application of photog- raphy and effi ciency of its results. Preparing to 1 The article was preparing in winter and spring of 2008 in spend the next summer on Mount Athos I decided Dumbarton Oaks in Washington. Tyragetia, s.n., vol. V [XX], nr. 2, 2011, 71-98. 71 I. Studii to study photography, in order to use it for copy- lecture-series and exhibitions in Moscow and St. ing the manuscripts, archives, icons, and three- Petersburg in 1859. As every serious reader of the dimensional objects kept in the Mount Athos Russian Classics knows, Russia always adhered to monasteries. For this I contacted the famous the opinion of Europe, where Paris was the irre- Professor Belloc2, and with his easy and rational futable arbiter. Which is to say that Sevastianov’s method, 10 lessons were enough to introduce to success in Paris was an a priori guarantee for his me the secrets of collodium”3. Sevastianov invited favorable welcome by the Russian high society. as companions and assistants in his trip the Ger- Indeed, in 1859, Sevastianov demonstrated the man painter Janson (in 1857), and, in 1859, the drawings and photographs that he made, on a French professional artist E. Vaudin. Both artists special exhibition held fi rstly in the Moscow Uni- were to make drawings and original-scale trac- versity and later in the building of the Holy Or- ings of Athonite frescoes and icons. thodox Synod at Saint-Petersburg. In the Synod Sevastianov proposed to organize a special photo- buildings Sevastianov’s drawings and photo- archive in each of the great libraries and muse- graphs were arranged on the tables in the centre ums in the world. Each archive would make a full of the halls, and the monumental, original-scale copy of the more important manuscripts and ob- tracings of the Mount Athos frescoes were exhib- jects of art and exchange it with all the others. As ited on the walls. As it was expected, this pre- a result of this proposed enterprise, these materi- sentation of the outcome of his Athonite mission als would be preserved and would become more enjoyed a tremendous success in Russia, too, accessible to scholars. and the Russians in Moscow and Saint-Peters- burg, taking after the Parisians, were delighted In February 8 of 1858 Piotr Sevastianov delivered by the self-sacrifi cing and the unselfi sh devotion the lecture “Sur le Mont Athos, ses monastères et of their compatriot. What is more, his daring les manuscrits de leurs bibliothèques” (On Mount idea of making the archives of the photographic Athos, its Monasteries, and the Manuscripts in copies of the manuscripts and art objects was their Libraries) at the Académie des Inscriptions greatly supported by Russian scholars. The aca- et Belles-Lettres in Paris, in which he presented demic Ivan Sreznevsky wrote in 1858 that Sev- his recent research on the Mount Athos monas- astianov was the fi rst who realized the usefulness teries (Севастьянов 1859, столбцы 257-261; Sov- of photography for scholarly studies and utilized astianoff 1859, 25-28). He gave the general over- it in locations where scholars could rarely enter, view of the Mount Athos and its 20 monasteries, namely, in the libraries of the Mount Athos mon- described the main characteristics of the monastic asteries (Срезневский 1858, 367-370). Another life and administrative management. Sevastianov scholar, Sergei Shevyrev, in 1859, pointed out specifi cally mentioned his studies in the monas- that “from now on there is no need to cut pages, tic libraries and photographing individual pages damage, and deform the manuscripts as it was and even entire manuscripts. His lecture was ac- practiced in the past. Photography, being such companied by an exhibition of drawings, photo- an honorable art, saves these treasures and sat- graphs, and original objects from Mount Athos. isfi es the egoism of seekers of all kinds of rari- The French press wrote enthusiastically about ties” (Шевырев 1859, 3). In the same year, one Sevastianov’s activities, and the great success of of the most popular journals of that time, Russkii the lecture, as well as the absolute admiration of Khudozhestvennyi Listok, wrote that “Mr. Sev- the Parisian society for this Russian scholar’s mis- astianov was the fi rst who reached excellent sion, resulted in Sevastianov’s presenting the same results in applying photography for reproduc- 2 Belloc Joseph August (c. 1800-c. 1868) – French photogra- ing ancient monuments” (Русский 1859, 8). Sev- pher, member the Société française de photographie from astianov had found support of the Imperial Rus- 1854. From the very beginning, he was implied in the photo- sian Archaeological Society, where he held pro- graphic democratization, gave photographic lessons and wrote about ten treatises concerning the photographic processes, fessional presentations and where his article on the way to use them, and some of practical advice. Practicing the role of photography for the humanities was daguerreotype, he became involved in wet collodion develop- published4 (Севастьянов 1859, столбцы 257- ment and improved the wax coating process, helping the pic- tures to keep their wet-like lusser (Encyclopedia 2008, 146). 3 Государственная Российская библиотека. Отдел 4 Архив Института Археологии РАН в Санкт Петербурге. рукописей. Ф. 269, д. 2347, л. 1. Ф. 3, д. 408, л. 107-109. 72 Y. Pyatnitsky, An imperial eye to the past: byzantine exhibitions in the state Hermitage museum, 1861-2006 Fig. 2. The exhibition of Sevastianov’s materials in Saint Synod in St. Petersburg. Lithography by 1859. The State Hermitage museum. 261). On February 24 1859 the Imperial Acad- the Academy of Fine Arts and the Holy Orthodox emy of Fine Arts elected him as membre hono- Synod. The offi cial budget of the expedition was raire libre5. One note of interest in connection to 16.000 rubles (7.000 rubles donated by the Em- Sevastianov’s exhibitions in Moscow and Saint- peror and Empress, and 9.000 rubles donated by Petersburg was that they were visited by people the Holy Orthodox Synod). In addition, the Grand from different levels of the Russian social hier- Princes Maria, president of the Academy of Fine archy. It is interesting to mention in this context Arts, donated another 3,000 rubles. Regardless that, in a drawing made during the exhibition in of these donations, and according to the docu- the Holy Synod building, one discerns the high- ments of the expedition (Довгалло 1995, прим. society ladies, along with scholars, church hier- 30), Piotr Sevastianov added up the sum of ap- archs, merchants, and even peasants. The greater proximately 15,000 rubles from his own money. part of the two latter categories was comprised Thus his private initiative led to an offi cial com- by the so-called “Old Russian Believers”.
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