10 Masterpieces from the Textile and Costume Collections
1. Gown of Grand Duchess Ekaterina Pavlovna
Probably French, ca. 1780
Stamped velvet, silver brocade, lace, silk, gilded thread, twisted cord, spangles, paillettes; embroidered
Length: of bodice 51, of skirt 97, of train 225
Inv. ¹ ÃÄÌ-117-II - ÃÄÌ-119-II
The Gatchina Palace collection makes it possible to trace the development of women’s clothing from the second half of the 18th century to the early 19th century. The collection boasts dresses worn by women of the imperial family.
The highlight of the collection is a child’s dress worn by one of the daughters of Paul I – the Grand Duchess Ekaterina Pavlovna. A unique work of art, it epitomises the exquisite women’s court outfit worn in the sophisticated 18th century. Similar examples of early woman’s court dress are exceptionally rare in Russian collections.
2. Decorative Panels
French, possibly Manufactory of Saint-Cyr, late 17th-early 18th century
Wool, silk, gilded thread, cotton cloth; tapestry stitch, embroidered in satin and couching stitch
72õ300
Inv.¹ ÃÄÌ-96-II - ÃÄÌ-101-II
Up to 1941, these panels decorated the staterooms of Alexander III. They were probably woven at the Saint-Cyr workshop, established in 1686 by the marchioness de Maintenon, Louis XIV’s morganatic wife. The renowned workshop’s output was exclusively reserved for the French royal court.
The panels are executed with diverse embroidery techniques and are of exceptional workmanship. The French craftswomen never once repeated a single motif, making the panels truly unique works of embroidery art.
There were ten panels such as this one in the original collection at the Gatchina palace, but four of them, along with other valuables, were sold abroad in the 1920s. The three of those panels are now in the Victoria and Albert Museum, Great Britain, taking pride of place in the museum’s collection.
3. Fashion Doll Grand Pandora Wearing a Dress of the Order of St Catherine the Martyr, First degree (the Grand Cross)
Probably French, ca. 1780-1790
Silver brocade, velvet, silk, lace, gilded thread, twisted cord, spangles, paillettes, gilded fringe; embroidered and decorated with applique
Height: 65
Inv. ¹ ÃÄÌ-102-II
Beginning in mediaeval times, the latest fashion trends were disseminated in Europe by using dolls as mannequins; dolls in court attire are known as Grande Pandora, and dolls in everyday clothing are known as Petite Pandora.
The present doll in the palace’s collection shows the dress of the holder of the Order of St Catherine, First Degree (or the Grand Cross). The order was established in 1714 by Peter I. The Edict on Russian Imperial Orders of April 5, 1797, issued by Paul I, strictly regulated the procedure for wearing costumes. Ladies were obliged to wear special dresses on November 24, the feast day of the order of St Catherine.
The dress was probably designed by Rose Bertin, the court dressmaker to French Queen Marie-Antoinette.
4.1.Ceremonial Court Dress of Empress Maria Feodorovna (Paul I’s wife)
Russian, ca. 1820
Satin, tulle, moire, lace, silk, gilded thread, wire, twisted cord; embroidered
Length: of bodice 132; of train 200
Inv. ¹ ÃÄÌ-120-II- ÃÄÌ-122-I
As legend has it, this Empire style dress of Empress Maria Feodorovna was created for the coronation ceremony of Nicholas I by serf craftswomen right in the Gatchina Palace. The embroidery technique employed for the dress decoration is extraordinary – the superfine tulle is embroidered with gilded wire (a rather wide, flattened metal thread).
In the image, the dress is shown on display in the Upper Throne Room of Paul I against the background of the tapestry Ceres from the Portals of Gods series, another masterpiece in the palace collection.
4.2. Tapestry Ceres from the Portals of Gods Series (Portières des Dieux)
French, Gobelins, ca. 1770
Tapestry, woven in wool and silk
209õ310
Inv. ¹ ÃÄÌ-171-II
The Gatchina collection has tapestries that come from among the most celebrated series produced by the renowned Gobelins manufactory. Their value is further enhanced by the exceptional provenance. They were given to the future Emperor Paul I and Maria Feodorovna by Louis XVI, king of France, during the couple’s tour in Europe.
The cartoons for the Portals of Gods series were created by the outstanding ornamental painter Claude Audran (1658-1734) in the late 17th century.
5. Paul I’s Uniform
Russian, late 18th c.
Woollen cloth with twill weave, gilded thread, metal; embroidery and casting
Length: 105
Inv. ¹ ÃÄÌ-113-II
Paul I’s Camisole
Russian, late 18th c.
Cloth, linen, metal
Length: 64
Inv. ¹ ÃÄÌ-114-II
For his coronation in 1797, Paul I wore the officer’s uniform of the Life-Guards Preobrazhensky Regiment, of which he was the commander. This tradition remained unchanged until 1917. On March 11, 1801, the eve of his murder, Paul wore the uniform and camisole that are now in the palace’s collection. In 1833, Nicholas I had all his father’s memorabilia transferred to Gatchina and installed in Paul I’s Oval Study.
6. Dress of Empress Maria Feodorovna (Paul I’s wife)
Russian, ca. 1820
Satin, tulle, lace, silver wire; embroidered and decorated with applique
Length: 133
Inv. ¹ ÃÄÌ- 125-II-ÃÄÌ-126-II
This white satin and fine tulle ball dress is embroidered with silver wire and applique, in relief reminiscent of crosses of the Maltese Order. The decolletage and sleeves are trimmed with real blonde lace.
All historic dresses from the Gatchina collection have preserved their original appearance without any later additions of modern materials.
7. Tapestry the Striped Horse
French, Gobelins, 1780
Woven in wool and silk, tapestry weaving
499õ373
Èíâ. ¹ ÃÄÌ- 169-II
The “Striped Horse” tapestry from the New Indies series decorates the Upper Throne Room of Paul I. The images were painted in the 1720s by the renowned French painter Alexandre-François Desportes (1661-1743) and based on the earlier Indies series that was woven in the second half of the 17th century for the French king Louise XIV.
Depicted in an expressive manner and with rich colors, the scenes from the New Indies series show exotic views of West Indies and evoke the early colonial period of Latin America.
8. Tapestry Sancho’s Entry in the Isle of Barataria
French, Gobelins, 1774
Woven in wool and silk; tapestry weaving
438õ394
Inv. ¹ ÃÄÌ- 93-II
The tapestry “Sancho’s Entry in the Isle of Barataria” decorates the Crimson Drawing Room of Empress Maria Feodorovna. The Story of Don Quixote Series was painted by gifted French artist Charles-Antoine Coypel (1694-1752) in 1716.
In contrast to the tapestries woven earlier, the central scene in the tapestries from the Story of Don Quixote series is of relatively small size and resembles a framed picture placed on a damask-hung wall. This elaborate surrounding decoration came to be known as the alentours (from French word meaning environs). The introduction of alentours was a revolutionary innovation in tapestry production.
9. Tapestry the King Borne by Two Moors
French, Gobelins, 1781
Woven in silk and wool, tapestry weaving
499õ373
Inv. ¹ ÃÄÌ- 170-II
The second tapestry from the New Indies series also decorates Paul I’s Upper Throne Room. The tapestries were part of the diplomatic gifts from Louis XVI. Since 1796, they have adorned the most important stateroom in the palace, as Paul I wished.
The tapestries from the renowned New Indies series are only represented in Russia in the Gatchina Palace’s collection.
1. Gown of Grand Duchess Ekaterina Pavlovna
Probably French, ca. 1780
Stamped velvet, silver brocade, lace, silk, gilded thread, twisted cord, spangles, paillettes; embroidered
Length: of bodice 51, of skirt 97, of train 225
Inv. ¹ ÃÄÌ-117-II - ÃÄÌ-119-II
The Gatchina Palace collection makes it possible to trace the development of women’s clothing from the second half of the 18th century to the early 19th century. The collection boasts dresses worn by women of the imperial family.
The highlight of the collection is a child’s dress worn by one of the daughters of Paul I – the Grand Duchess Ekaterina Pavlovna. A unique work of art, it epitomises the exquisite women’s court outfit worn in the sophisticated 18th century. Similar examples of early woman’s court dress are exceptionally rare in Russian collections.
2. Decorative Panels
French, possibly Manufactory of Saint-Cyr, late 17th-early 18th century
Wool, silk, gilded thread, cotton cloth; tapestry stitch, embroidered in satin and couching stitch
72õ300
Inv.¹ ÃÄÌ-96-II - ÃÄÌ-101-II
Up to 1941, these panels decorated the staterooms of Alexander III. They were probably woven at the Saint-Cyr workshop, established in 1686 by the marchioness de Maintenon, Louis XIV’s morganatic wife. The renowned workshop’s output was exclusively reserved for the French royal court.
The panels are executed with diverse embroidery techniques and are of exceptional workmanship. The French craftswomen never once repeated a single motif, making the panels truly unique works of embroidery art.
There were ten panels such as this one in the original collection at the Gatchina palace, but four of them, along with other valuables, were sold abroad in the 1920s. The three of those panels are now in the Victoria and Albert Museum, Great Britain, taking pride of place in the museum’s collection.
3. Fashion Doll Grand Pandora Wearing a Dress of the Order of St Catherine the Martyr, First degree (the Grand Cross)
Probably French, ca. 1780-1790
Silver brocade, velvet, silk, lace, gilded thread, twisted cord, spangles, paillettes, gilded fringe; embroidered and decorated with applique
Height: 65
Inv. ¹ ÃÄÌ-102-II
Beginning in mediaeval times, the latest fashion trends were disseminated in Europe by using dolls as mannequins; dolls in court attire are known as Grande Pandora, and dolls in everyday clothing are known as Petite Pandora.
The present doll in the palace’s collection shows the dress of the holder of the Order of St Catherine, First Degree (or the Grand Cross). The order was established in 1714 by Peter I. The Edict on Russian Imperial Orders of April 5, 1797, issued by Paul I, strictly regulated the procedure for wearing costumes. Ladies were obliged to wear special dresses on November 24, the feast day of the order of St Catherine.
The dress was probably designed by Rose Bertin, the court dressmaker to French Queen Marie-Antoinette.
4.1.Ceremonial Court Dress of Empress Maria Feodorovna (Paul I’s wife)
Russian, ca. 1820
Satin, tulle, moire, lace, silk, gilded thread, wire, twisted cord; embroidered
Length: of bodice 132; of train 200
Inv. ¹ ÃÄÌ-120-II- ÃÄÌ-122-I
As legend has it, this Empire style dress of Empress Maria Feodorovna was created for the coronation ceremony of Nicholas I by serf craftswomen right in the Gatchina Palace. The embroidery technique employed for the dress decoration is extraordinary – the superfine tulle is embroidered with gilded wire (a rather wide, flattened metal thread).
In the image, the dress is shown on display in the Upper Throne Room of Paul I against the background of the tapestry Ceres from the Portals of Gods series, another masterpiece in the palace collection.
4.2. Tapestry Ceres from the Portals of Gods Series (Portières des Dieux)
French, Gobelins, ca. 1770
Tapestry, woven in wool and silk
209õ310
Inv. ¹ ÃÄÌ-171-II
The Gatchina collection has tapestries that come from among the most celebrated series produced by the renowned Gobelins manufactory. Their value is further enhanced by the exceptional provenance. They were given to the future Emperor Paul I and Maria Feodorovna by Louis XVI, king of France, during the couple’s tour in Europe.
The cartoons for the Portals of Gods series were created by the outstanding ornamental painter Claude Audran (1658-1734) in the late 17th century.
5. Paul I’s Uniform
Russian, late 18th c.
Woollen cloth with twill weave, gilded thread, metal; embroidery and casting
Length: 105
Inv. ¹ ÃÄÌ-113-II
Paul I’s Camisole
Russian, late 18th c.
Cloth, linen, metal
Length: 64
Inv. ¹ ÃÄÌ-114-II
For his coronation in 1797, Paul I wore the officer’s uniform of the Life-Guards Preobrazhensky Regiment, of which he was the commander. This tradition remained unchanged until 1917. On March 11, 1801, the eve of his murder, Paul wore the uniform and camisole that are now in the palace’s collection. In 1833, Nicholas I had all his father’s memorabilia transferred to Gatchina and installed in Paul I’s Oval Study.
6. Dress of Empress Maria Feodorovna (Paul I’s wife)
Russian, ca. 1820
Satin, tulle, lace, silver wire; embroidered and decorated with applique
Length: 133
Inv. ¹ ÃÄÌ- 125-II-ÃÄÌ-126-II
This white satin and fine tulle ball dress is embroidered with silver wire and applique, in relief reminiscent of crosses of the Maltese Order. The decolletage and sleeves are trimmed with real blonde lace.
All historic dresses from the Gatchina collection have preserved their original appearance without any later additions of modern materials.
7. Tapestry the Striped Horse
French, Gobelins, 1780
Woven in wool and silk, tapestry weaving
499õ373
Èíâ. ¹ ÃÄÌ- 169-II
The “Striped Horse” tapestry from the New Indies series decorates the Upper Throne Room of Paul I. The images were painted in the 1720s by the renowned French painter Alexandre-François Desportes (1661-1743) and based on the earlier Indies series that was woven in the second half of the 17th century for the French king Louise XIV.
Depicted in an expressive manner and with rich colors, the scenes from the New Indies series show exotic views of West Indies and evoke the early colonial period of Latin America.
8. Tapestry Sancho’s Entry in the Isle of Barataria
French, Gobelins, 1774
Woven in wool and silk; tapestry weaving
438õ394
Inv. ¹ ÃÄÌ- 93-II
The tapestry “Sancho’s Entry in the Isle of Barataria” decorates the Crimson Drawing Room of Empress Maria Feodorovna. The Story of Don Quixote Series was painted by gifted French artist Charles-Antoine Coypel (1694-1752) in 1716.
In contrast to the tapestries woven earlier, the central scene in the tapestries from the Story of Don Quixote series is of relatively small size and resembles a framed picture placed on a damask-hung wall. This elaborate surrounding decoration came to be known as the alentours (from French word meaning environs). The introduction of alentours was a revolutionary innovation in tapestry production.
9. Tapestry the King Borne by Two Moors
French, Gobelins, 1781
Woven in silk and wool, tapestry weaving
499õ373
Inv. ¹ ÃÄÌ- 170-II
The second tapestry from the New Indies series also decorates Paul I’s Upper Throne Room. The tapestries were part of the diplomatic gifts from Louis XVI. Since 1796, they have adorned the most important stateroom in the palace, as Paul I wished.
The tapestries from the renowned New Indies series are only represented in Russia in the Gatchina Palace’s collection.