Implications for the development

Portrait miniatures of the 18
th
 and 19
th
 centuries
/ The Armory in the Moscow Kremlin, 
M.: Izobraz. iskusstvo, 1985, 19 p., il.
2
Ibidem.
Fig. 1. Anselm Francois Lagrenee. Por-
trait of Countess Elisabeth Vorontsova. 
The Armory in the Moscow Kremlin.

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Patrimoniul cultural de ieri: implicații în dezvoltarea societății durabile de mâine
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2. Millet. Miniature portrait of Elisabeth Branitskaya (c. 1819);
3. Marie-Victoire Jaquotot (1772–1855). Miniature portrait of Elisabeth Branitskaya on Sevres 
porcelain. 1819. Private collection in Stockholm;
4. Denis Foyatier (1793–1863). Marble bust of Countess Elisabeth Vorontsova. Paris, 1821. At 
present kept in Alupka Palace-museum;
5. Thomas Lawrence (1769–1830). Portrait of Countess Elisabeth Vorontsova (c. 1821). Kept in 
Moscow A. Pushkin’s State Museum of Fine Arts collection;
6. Luigi Pichler (1773–1854). Countess Elisabeth Vorontsova (1820). Plaster cast from intaglio 
by the author. Moscow A. S. Pushkin State Museum;
7. Piotr Sokolov (1787–1848). Portrait of Countess Elisabeth Vorontsova (c. 1823) Paper, wa-
ter-colours. Kept in the Museum of V. A. Tropinin and his contemporary Moscow artists. Moscow;
8. Alexander Polyakov (1801–1835). Portrait of Countess Elisabeth Vorontsova (1823 (?)). Oil 
on canvas. (Previously attributed to George Dawe). Was kept in private collection in Prague;
9. Alexander Polyakov (1801–1835). Portrait of Countess Elisabeth Vorontsova (1823 (?)). Oil 
on canvas. (Previously attributed to George Dawe). Kept in Alupka Palace-museum;
10. Alexander Pushkin (1799–1837). Marginal pen drawing in the 1
st
chapter of “Eugene One-
gin” draft manuscript (Odessa, 1823);
11. Josef Eduard Teltscher (1801–1837). Portrait of Countess Elisabeth Vorontsova (1830) Pa-
per, water-colours. Kept in St. Petersburg All-Russian Museum of A. S. Pushkin;
12. George Hayter (1792–1871). Portrait of Countess Elisabeth Vorontsova. London, 1832. Oil 
on canvas. Was kept in Vorontsov’s Palace in Odessa. Now in Hermitage in St. Petersburg. Transferred 
from Vorontsov-Dashkov’s collection by the State Museum Fund in 1920; 
13. Moritz Michael Daffinger (1790–1849). Portrait of Countess Elisabeth Vorontsova. Vienna, 
1840. SEPHEROT Foundation collection; 
14. Luisa Dessemet (1815–1905). A copy remade from George Heiter’s portrait in which back-
ground organ was replaced by Alupka Park landscape as a backdrop. 1848. Oil on canvas. Kept in 
Alupka Palace-museum;
15. I. Solferini. Portrait of Countess Elisabeth Vorontsova (1834). Lithograph that we see the 
Chairwoman of Novorossijsk women Charitable Society;
16. Karlvon Blaas (1815–1894). Portrait of Princess Elisabeth Vorontsova (1852). Kept in War-
saw Museum (we know it this country though the lithograph portrait by Prnzkopfer). 
E. K. Vorontsova (1792–1880), maiden name Branitskaya, was born is Belaya Tserkov in 1792. 
Her mother Alexandra Vasilievna Branitskaya (nee Engelgard) was the niece of Gregory Potem-
kin, Prince of Tauriya. Shi was Caterina II’s lady-in-waiting. The town of Belaya Tserkov was 
property of Branitski family as 127 other estates. Her father – Hetman Francisk-Ksaveriy Bra-
nitski was a rich landowner. Philipp Vigel wrote about Elisabeth Vorontsova: “…Long enough, 
when others could have got bored with the high society life, she lived under the rule of her strict 
mother in the Alexandria estate, in the course of her first trip abroad she married Count Vo-
rontsov [M. S. Vorontsov was the commander of the Russian occupation corps in France, 
remark 
by Yuri Pismak
] and in an instant was immersed in all the glamour of life…”
3
. Writer V. A. Sol-
logub describes her so: “Small of stature with somewhat prominentand irregular facial features 
Countess Elisabeth was none the less one of the most attractive women of her-time. All her being 
was eradiating such softness and such immaculate foppery which accounts for the fact that such 
people as Pushkin, hero of the 1812 War Rayevsky and a lot of others lost their heads falling in 
love with Countess Vorontsova”
4
.
One of the feature elements of English Palace is the winter garden, and by all credibility only 
faithfulness to British traditions can explain the winter garden in Alupka’s Palace of M. S. Vo-
rontsov. To all appearances the Southern Coast of Crimea is a paradise, with its mild climate, the 
Palace amidst beautiful parks and the wonderful view of the Sea and yet the winter garden is there. 
3
Philipp Vigel, 
Memoirs
. [Text] (in Russian) /Philipp Vigel, M.: Zakharov, 2000, 590 p.
4
V. A. Sollogub, 
Stories. Memoirs
. [Text] (in Russian) / V. Sollogu , L., 1988, p. 509.

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A white marble sculpture was considered to be the best decoration of such interior, effectively 
prominent on the backdrop of the exotic plants’ greenery. Combination of sculptures and plants 
takes its roots in Antique Art. Among many wonderful sculptures of this winter garden the bust 
of the Vorontsov’s family feature prominently. The bust of Count Semyon Romanovich Vorontsov, 
father of the Palace’s owner, who many years was Russian ambassador in London, the busts of 
Count Mikhail Semyonovitch and Elisabeth Ksaverievna herself (fig. 3).They were all created by 
the French sculptor Denis Foyatier (1793–1863) (fig. 2) in 1821 and were exhibited in Paris Salon 
in 1821–1822. Galina Filatova wrote: “In Paris the married couple posed to the sculptor Denis 
Foyatier…”
5
. Working in the funds of Alupka Palace-museum (in 1994) the author of this article 
found out that the Elisabeth Vorontsova’s sculpture was kept in Odessa Vorontsov’s Palace while 
the latter was alive. The proof may be found in the grisaille which depicts interior of M. S. Vo-
rontsov’s study in Odessa Palace. Even here one can clearly see that Elisabeth Ksaverievna’sbust 
rests on a support-in the form of a truncated column by a pilaster confining the semi-circle of the 
study’s space. On Boffo’s sketch (plan) of the 2
nd
floor of Vorontsov’s Palace in Odessa, light lines 
depict furniture disposition in the Count’s study. And judging by the previous by described inte-
rior, the idea was strictly put into life, which testifies to the ave consideration the architects paid it 
in the 19
th
century. And the place for the sculpture was defined. The portrait of M. S. Vorontsov by 
Karl von Hampeln(1794–1880) is an interesting piece among these documented testimonies. The 
Count is portrait sitting in an armchair almost full profile in the study (of his Odessa Palace (?)), 
and behind him the marble image of his beloved spouse by Denis Foyatier. Comparing the photo 
of the sculptured portrait of Elisabeth Ksaverievna, accomplished by Denis Foyatier in Paris in 
1821, with “portrait of a Lady” (fig. 1)by Anselm Francois Lagrenee from the collection of the 
Armouryin the Moscow Kremlin we take it for granted, that they both depict one and the same 
face. Moreover, it could be stated with great certainty that the model for the miniature artist was 
not the Countess herself, but her image in sculpture. Only thus we can explain the fact that Ms. 
L. M. Frolova in her work states that Lagrenee has wonderfully portrayed “the