The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs
The collection of the Alupka Palace of the Vorontsovs, a family that belonged to the educated and patriotically minded elite of Russia, retains a large number of items of cultural and historical value such as paintings, sculptural portraits, and graphic sheets executed by the best artists of the 19t...
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| Published in: | Культура народов Причерноморья |
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| Date: | 1999 |
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| Language: | English |
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Кримський науковий центр НАН України і МОН України
1999
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| Cite this: | The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs / N.A. Kovalevskaya // Культура народов Причерноморья. — 1999. — № 11. — С. 188-191. — Бібліогр.: 6 назв. — англ. |
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Digital Library of Periodicals of National Academy of Sciences of Ukraine| _version_ | 1859596702555570176 |
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| author | Kovalevskaya, N.A. |
| author_facet | Kovalevskaya, N.A. |
| citation_txt | The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs / N.A. Kovalevskaya // Культура народов Причерноморья. — 1999. — № 11. — С. 188-191. — Бібліогр.: 6 назв. — англ. |
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| container_title | Культура народов Причерноморья |
| description | The collection of the Alupka Palace of the Vorontsovs, a family that belonged to the educated and patriotically minded elite of Russia, retains a large number of items of cultural and historical value such as paintings, sculptural portraits, and graphic sheets executed by the best artists of the 19th century.
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| first_indexed | 2025-11-27T22:28:44Z |
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Kovalevskaya Nadezhda A.
THE PORTRAITS OF NOTED PERSONALITIES OF THE ENGLISH REVOLUTION
IN THE ALUPKA COLLECTION OF THE VORONTSOVS
188
188
Kovalevskaya Nadezhda A.
THE PORTRAITS OF NOTED PERSONALITIES OF THE ENGLISH REVOLUTION
IN THE ALUPKA COLLECTION OF THE VORONTSOVS
The collection of the Alupka Palace of the
Vorontsovs, a family that belonged to the educated and
patriotically minded elite of Russia, retains a large
number of items of cultural and historical value such as
paintings, sculptural portraits, and graphic sheets
executed by the best artists of the 19th century.
Many representatives of this count clan had been
marked with a hallmark of Anglophilia: Alexander R.
Vorontsov and Semion R Vorontsov served as Russian
ambassadors to England; the educated Catherine R.
Vorontsova-Dashkova provided her only son’s
education in Edinburgh, Scotland; Semion R.
Vorontsov's children were brought up in London.
It was important for the Russian ambassador not
only to keep up numerous acquaintances but also to
have the profound knowledge of the history and culture
of Great Britain, a powerful country that became his
second home (he lived there for 46 years). While
Semion R. Vorontsov was at the diplomatic service in
Italy he developed a distinctive flair for the fine arts
and his contemporaries often as had for his advice
about this field.
It was at that time that English art flourished
immensely. The graphic sheets carried out in
mezzotint, a method in which English artists were the
best in Europe were in the high value. Mezzotint was
widely used for the reproduction of paintings because
of the great variety of tones that could be achieved
through it from chalky white to saturated deep black.
The peculiarity of English art was the prevalence of
portraiture. It is quite understandable that the nation,
being separated from the Continent and girded by seas,
became famous and occupied a leading position thanks
to the strong and selfless personalities: kings,
commanders, admirals, politicians, poets, etc.
Albion was ahead of many other European
countries in terms of readiness for the revolution. Of
course such tragic and pathetic pages of history were of
special interest to Semion R. Vorontsov: there is a
letter in the voluminous family archives, in the
brothers' correspondence, which contains a
comparative analysis of the English Revolution and the
French Revolution as well as mentioning of Oliver
Cromwell who was virtually the Robespierre and the
Napoleon of the English Revolution.
Up to now Cromwell has remained an enigma to
us: a modest esquire until 40 years of age, a smattering
student, a Parliamentarian, a cavalry captain, an
unbeaten military commander armed with the Holy
Scripture and sword, a merciless subduer of Ireland,
the chief "regicide" who sent Charles I to the scaffold,
and, at the same time, Lord Protector of the
Commonwealth of England with royal authority,
residing in the luxury of the former royal castles,
wearing the ermine mantle, and being the one who
nearly founded a new branch of monarchs – the
Olivers.
With the restoration of the Stuarts in 1660,
Cromwell's remains were exhumed, and the 13 army
officers – his closest associates – were executed at
Charing Cross.
However, the researchers distinguish many
achievements in his course of actions: he took steps in
the uniting of England, Scotland, and Ireland; he gave
rise to the colonial policy; and above all he "made a
republican form of government suitable for the country
where monarchy had been invariably preferred by the
majority of people." (1) In 1999 Britain marks the
400th jubilee of Cromwell.
The scholars also point to the fact that during the
Civil War in 1647 he "closely cooperated with the
political allies in Westminster," (2) where the Earl of
Pembroke is mentioned among "the group of powerful
peers." (2) This statement is valuable to us because
Semion R. Vorontsov gave his daughter Catherine in
marriage to George Herbert, 11th Earl of Pembroke.
Taking pride in his own genealogy, S. R. Vorontsov
also looked up to the family history of his English
relative.
We still have to ascertain why the Vorontsovs'
collection of the English graphic arts had also been
made up of a series of portraits of the revolutionaries
(who were the dictator's supporters) and those of his
Dutch foes. At the moment such Cromwell-related
portraits are 12 in number.
In the 16th century Western and Central Europe
was swept up in the vortex of the Reformation which
in England resulted in Puritanism, divided into the two
camps: the radical Independents and the moderate
Presbyterians, the last being backed by Oliver
Cromwell.
Various religious sects, resting upon the Holy Writ,
were fanatically striving for their truthfulness. Of
course, Cromwell and his contemporaries were agitated
by the doctrine of predestination, divine light, divine
providence, exploits in the name of God, crusades
against the countries held in the chains of Antichrist,
and also the waiting for Christ's coming to earth.
The millenarians were among the most fanatical
sects, and major general Harrison belonged them. The
Материалы VI научных чтений
189
189
portrait of this armour-clad commander was done by
an unknown artist. The researchers of English art point
out that in the 17th century copperplate engraving
performed a definite public function – being something
between a photograph and a propaganda leaflet. Many
artists were merely afraid of signing their works for
fear of being persecuted.
Cromwell's seal and the inscription "regicide
(Harrison took part in the trial and condemnation of the
King), executed at Charing Cross in 1660" are
imprinted on the small sheet with the general's portrait.
The reverse also captures our attention by showing the
map of a section of East Africa, Lake Victoria, and the
riverbeds of the Victoria Nile and the Zaire (the
Congo). We have still to find out the connection
between the both sides of the sheet.
John Barkstead, another regicide (the King's death
warrant was signed by 59 people and all of them were
regarded as regicides), outlived Harrison for two years.
This man's portrait (also made by an anonymous artist)
had been carefully kept by the Vorontsovs.
Life favoured George Joyce, a hero of the
Revolution, a great deal more. Hadn’t received
Cromwell's sanction but with his sheer connivance, hi
seized the arsenal at Oxford and arrested Charles I in
June, 1647, having reported it in a brief military
manner: "...with authority from the soldiers." (3) This
action put an end to Cromwell's doubts as to the way of
retaining the monarchy and made it impossible to save
the King's life. George Joyce, Parliamentarian and
member of the Army Council, met his death as late as
1670.
The Long Parliament sat in London from 1640 to
1653. One of its Parliamentarians was Oliver
Cromwell – he was elected there to represent
Cambridge. On April 20, 1653, Cromwell, having
accumulated political power, disbanded the Rump
Parliament (the Long Parliament after Pride's Purge of
1648). Next month on the advice of his officers -
including that of Harrison's – hi convened the
Barebone's Parliament, or the Little Parliament called
so because of the short period of its being in session –
from July 4, 1653 to December 12, 1653.
At the end of 1651 Cromwell conferred with his
officers in the London house of William Lenthall, a
man who was appointed Speaker of the House. (4) His
picture is among the above-mentioned graphic sheets
as well – the portrait is carried out in the manner of the
medallist's art by the engraver Eliza B. Gulston.
The Little Parliament consisted of 140
Parliamentarians, and its another name stems from the
nickname of one of its members – Praise God Barbon
(Barebone or Barebones). He was a rich London
leather merchant who was also a Baptist preacher. The
portrait from the Vorontsovs' collection shows what
this man was like.
The Barebone's Parliament was eventually
dismissed by Cromwell who had been preliminary
installed there as Lord Protector.
Indeed, a human fate may take a most unexpected
turn!.. Thus, Cromwell, having had before nothing to
do with the science of warfare, became famous as the
commander of the Ironsides, a highly disciplined army
composed of the various strata of society. The
monolithic strength of this army enabled Alexander
Leslie (a Scottish general, hero of the Thirty Years'
War) to say of those people: "Europe had no better
soldiers»" (5)
Cromwell's cavalry was the core of the army, and
he himself – with a red face, rasping voice, and
fanatical glitter in the eyes - punished cruelly the
enemies of the republic in the name of God. He
certainly had the talent to find comrades in arms.
Until a certain time, Cromwell had had no fighting
experience and, having acquired it, he suffered no
defeats. Robert Blake (who had never sailed the seas
before), after his assignment to the Navy, furthered the
growth of the English fleet very much.
England achieved superiority on land and sea
owing to the brilliant victories over the squadron of
Prince Rupert (nephew of the executed King), the
Spanish fleet, and the prominent Dutch admirals –
Michiel Adriaanszoon de Ruyter and Maarten
Harpertszoon Tromp.
It were the victories of Blake, former army officer,
that caused Albion's firm dominance at sea. This made
it possible for Semion R. Vorontsov to relish thoughts
of Russia's guarding the land boundaries of Europe in
the future and Britain's taking care of the European
marine borders.
For rendering meritorious services to the
motherland, admiral Blake had the honour of being
interred in Westminster Abbey, the burial place of
English kings and many eminent Englishmen. Robert
Blake's portrait was printed in London in 1814 by the
order of the Admiralty.
Nominally, the Scottish general Thomas Fairfax
(who was born into the family of an army officer)
commanded, in 1645-50, the parliamentary army (the
New Model Army). He did not sign the King's death
sentence and, also, he didn't draw the sword against his
native Scotland also. After Cromwell's demise, Lord
Fairfax headed the deputation to the son of the
executed King and thus helped to restore the
monarchy. Fairfax's fame did not spring from his
heroic deeds on the battlefield alone; he was also a
well-known man of letters – having a liking for poetry
and literature, he had written interesting memoirs
which were published posthumously. The general's
portrait was made and published by John Scott in 1803.
General George Monk (Monck) has remained a
national hero of England also. By Cromwell's order, he
subjugated Scotland while in command of a detached
corps. This annexation was carried out without the
instances of vandalism and perfidy, whereas in Ireland
the troops under the command of Cromwell did not
spare those who surrendered at discretion.
Monk commanded the fleet as well and
distinguished himself during the war with Holland. He,
together with Fairfax, was responsible for the return of
Charles II to the throne in 1660. The new King loaded
the hero with favours, including the conferment upon
him of the title of the first Duke of Albemarle. Monk's
portrait is marked with the year 1797 and belongs to
the noted copperplate burinist John Chapman. This
engraver was well-known in Russia – he executed a
series of portraits of the Russian tsars and took part in
190
190
putting out "The History of Russia" which was
published in 1800.
The Vorontsov's collection contains the engravings
(also carried out by John Chapman) showing the
adversaries of Britain – the Dutch admirals de Ruyter
and Tromp.
De Ruyter, an ardent combatant against pirates,
renowned for his victories without shedding much
blood, was at the height of his fame in 1652-67 when
the English fleet was thrice defeated and the
Londoners, at one time, were simply in a panic over his
leading the Dutch fleet up the Thames. Naturally, he
fell in action and, for his valour, was honoured with a
number of monuments in Amsterdam and other Dutch
cities.
Admiral Tromp was acting along with de Ruyter
who rattled his sabre on the Thames. His younger years
had been marked with several triumphs over the
Spaniards, however, after achieving a few victories
over the Englishmen in 1653, he witnessed the rise of
the British fleet and passed away in the same year, so
tragic for his homeland.
Time and again Cromwell had to take into account
the feelings of the Levellers, members of an extreme
republican faction advocating religious and social
equality. However, in 1649 he suppressed this party.
Their leader, John Lilburne, had spent much time in the
dungeons of the Tower of London. Once a close friend
of Cromwell's, he now brought out pamphlets that
exposed the usurper and enjoyed immense popularity.
John Lilburne's portrait was engraved from the
original (made by Bullfinch) taken from the collection
of Earl Spencer. The sheet was executed by the burinist
Richard Cooper in 1810.
Yet the most interesting print in the Vorontsovs'
collection is by far the portrait of Cromwell's Latin
Secretary and outstanding English poet John Milton.
The writer's friend of the same age, Samuel Cooper
(who made Cromwell's portrait when the dictator was
alive), carried out the portrait of the author of the
immortal poems "Paradise Lost" and "Paradise
Regained."
In 1786 the noted artist Caroline Watson, according
to Act of Parliament, mezzotinted this portrait and
published it.
The facsimile of Sir Joshua Reynolds, founder and
first president of the Royal Academy of Arts, gives his
enthusiastic praise both to the artist S. Cooper and to
the engraver C. Watson who acquired consummate
skill,
While studying the portraits of England's famous
people of the 17ht century and those of their enemies,
one can start to think whether they were meant to be
used as illustrations (selected thoroughly by the
Russian diplomat Semion R. Vorontsov) for the
growing heir to the glorious family, future statesman
Michael S. Vorontsov.
At any rate, this series of engravings from the
Alupka Palace is a unique textbook for us as well, for it
shows, through the various people, the grandiose
breaking of the feudal state and the beginning of the
flourishing of one of the mightiest Western European
monarchies. The scholarly politician Henry St. John 1
st viscount Bolingbroke calls on us to study the
experience of Great Britain and draw conclusions. (6)
Despite the large amount of written and studied
material on the English Revolution and its leader
Oliver Cromwell, until now this period can be
considered mysterious and insufficiently studied. Since
then many generations have brought up the question as
to what had really happened in England in the 1640s: a
great rebellion, a revolution, an interclass conflict, or
just a casual event? Or maybe there took place the
combination of a rebellion and a revolution?
Notes
(1) Coward, Barry. "Oliver Cromwell." Rostov-on-
Don, 1997, p. 281.
(2) Ibid., p. 92.
(3) Barg, M.A. "The English Revolution of the 17th
Century through Portraits of Its Leading Figures,"
Progress Publishers, Moscow, 1990, p. 148.
(4) Coward, Barry. "Oliver Cromwell."... p. 145.
(5) Barg, H.A. "The English Revolution..." p. 141.
(6) Lord Bolingbroke. "Letters of the Study and
Use of History." Moscow, 1978, p. 21.
|
| id | nasplib_isofts_kiev_ua-123456789-94569 |
| institution | Digital Library of Periodicals of National Academy of Sciences of Ukraine |
| issn | 1562-0808 |
| language | English |
| last_indexed | 2025-11-27T22:28:44Z |
| publishDate | 1999 |
| publisher | Кримський науковий центр НАН України і МОН України |
| record_format | dspace |
| spelling | Kovalevskaya, N.A. 2016-02-11T16:58:55Z 2016-02-11T16:58:55Z 1999 The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs / N.A. Kovalevskaya // Культура народов Причерноморья. — 1999. — № 11. — С. 188-191. — Бібліогр.: 6 назв. — англ. 1562-0808 https://nasplib.isofts.kiev.ua/handle/123456789/94569 The collection of the Alupka Palace of the Vorontsovs, a family that belonged to the educated and patriotically minded elite of Russia, retains a large number of items of cultural and historical value such as paintings, sculptural portraits, and graphic sheets executed by the best artists of the 19th century. en Кримський науковий центр НАН України і МОН України Культура народов Причерноморья Материалы VI научных чтений The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs Article published earlier |
| spellingShingle | The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs Kovalevskaya, N.A. Материалы VI научных чтений |
| title | The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs |
| title_full | The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs |
| title_fullStr | The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs |
| title_full_unstemmed | The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs |
| title_short | The portraits of noted personalities of the English revolution in the Alupka collection of the Vorontsovs |
| title_sort | portraits of noted personalities of the english revolution in the alupka collection of the vorontsovs |
| topic | Материалы VI научных чтений |
| topic_facet | Материалы VI научных чтений |
| url | https://nasplib.isofts.kiev.ua/handle/123456789/94569 |
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