Catherine the Great: An Enlightened Empress Reimagined

A fresh spotlight is being cast on one of Russia’s most iconic rulers through an exciting exhibition at the National Museum of Scotland. Partnering with the renowned Hermitage Museum, the Edinburgh showcase highlights the extraordinary cultural legacy of Empress Catherine the Great, with the exhibition that opened to the public on a Friday, was marked by eager anticipation.

Among the rare and exquisite pieces is a recently restored, monumental coronation portrait of the Empress—a masterpiece that hasn’t been displayed publicly since 1917. Its return offered a rare glimpse into the grandeur of the Russian court before the revolution.

One standout feature of the exhibition, embedded in the display panel for a section titled “Cameo Fever,” is an engraving of Athena closely inspecting a collection of cameos—”an engraved depiction of Athena seated at a table whilst examining a collection of cameos, after the Scottish painter David Allan.” The image graced the cover of an 18th-century catalogue by Scottish gem engraver James Tassie and resonates deeply with the spirit of the exhibition, portraying Catherine as wise, powerful, and cultured.

The exhibit, which originally ran from 13 July to 21 October 2012, brought together nearly 600 dazzling artefacts from the State Hermitage Museum in St Petersburg. Visitors were offered a once-in-a-lifetime chance to see up-close the diverse elements of Russia’s imperial past through a vivid and immersive experience. Presented in a series of dimly lit rooms, the collection is tastefully curated with impressive attention to detail. From gilded furniture and porcelain to ceremonial weaponry and richly embroidered garments, the show immerses viewers in the opulence of Catherine’s reign.

Portraits are naturally a key feature, with prominent examples such as Vigilius Eriksen’s grand image of Catherine in her coronation attire commanding attention. However, it is the decorative arts that truly captivate. Many objects were originally commissioned for Catherine’s various residences, painting a vivid picture of the luxurious environments in which they were used. A particularly charming highlight is the Frog Service, a delicate porcelain set commissioned from Josiah Wedgwood, which includes imagery of quaint British and Scottish landmarks. It sat in contrast to the lavish Sèvres Cameo Service, but both highlight different aspects of Catherine’s refined tastes and global interests.

The display also underscores Catherine’s unexpected yet intriguing connection with Scotland—a theme further explored in the exhibition catalogue. Another visual delight is the ornately crafted carnival sledge, exhibited against a theatrical backdrop that recreates a festive Russian winter scene. Not to be missed is Elisabeth Vigée-Lebrun’s radiant portrait of the Daughters of Emperor Paul I, exuding youthful elegance.

The layout of the exhibition followed a broad chronological narrative, guiding visitors through Catherine’s transformation—from her early life in Prussia, her conversion to Orthodox Christianity, to her rise as Empress through a carefully orchestrated coup. The journey began with guests literally standing in a wintry setting, symbolising her foreign roots, and progresses through golden imperial doors into a world of Russian pageantry, welcomed by a regal portrait of Empress Elizabeth Petrovna. This progression mirrors Catherine’s own metamorphosis—from outsider to sovereign.

Each room delved into one of Catherine’s many identities—Empress, reformer, art collector, and mother. This multidimensional approach presents a holistic view of her reign, which is rarely explored in traditional accounts. Notably, the exhibit and its accompanying catalogue mark one of the first English-language studies focusing on Catherine’s role as a patron of the arts since Dimitri Shvidkovsky’s pivotal work, The Empress and the Architect.

A central theme is the notion of Catherine as an “Enlightened Empress.” This concept, though somewhat paradoxical, places her within the broader Enlightenment movement of 18th-century Europe. Catherine maintained relationships with prominent intellectuals of the time—”Voltaire’s paradoxical designation of Catherine as an ‘Enlightened despot’” captures the tension in her dual identity as an autocrat with Enlightenment ideals. Her correspondence with thinkers like Diderot and Voltaire is represented by evocative busts and quotations throughout the exhibition.

Despite the exhibition’s success in illustrating Catherine’s intellectual engagement, it stops short of thoroughly examining how she used visual culture to construct her own enlightened image. “David Allan’s image of Athena” serves not only as a thematic illustration but also as a missed opportunity to delve into Catherine’s self-fashioning. Her identification with figures such as Minerva or Athena is a recurring motif across many of the displayed artworks and objects, and one that could have benefitted from deeper scholarly interpretation.

By not engaging more fully with themes of gender and power, the exhibit omits important academic discussions, such as those explored in Melissa Hyde’s work on female identity and artistic portrayal in Enlightenment Europe. Hyde’s essay, Under the Sign of Minerva, is especially relevant here, offering insights into how women of the period employed classical imagery to craft their authority.

Nevertheless, the exhibition succeeded in offering a rich and textured portrait of Catherine the Great’s reign. Its visual storytelling is enhanced by a lavishly illustrated catalogue, filled with thoughtful essays and a complete listing of all included objects.

In sum, Catherine the Great: An Enlightened Empress is a compelling journey through the legacy of a woman who defined an era. Though certain avenues of exploration remain underdeveloped, the exhibition’s visual splendour and thoughtful curation ensure that Catherine’s cultural and political impact remains as vivid today as it was in the 18th century.