Эрмитаж
冬宫(Winter Palace,俄文：Эрмитаж)音译艾尔米塔什博物馆。坐落在圣彼得堡宫殿广场上，原为俄国沙皇的皇宫，十月革命后辟为圣彼得堡国立艾尔米塔奇博物馆的一部分。该宫由意大利著名建筑师拉斯特雷利设计，是18世纪中叶俄国巴洛克式建筑冬宫一隅的杰出典范。艾尔米塔什与伦敦的大英博物馆、巴黎的卢浮宫、纽约的大都会艺术博物馆一起，称为世界四大博物馆。该馆最早是叶卡捷琳娜二世女皇的私人博物馆。
初建于1754-1762年，1837年被大火焚毁，1838-1839年重建。第二次世界大战期间又遭到破坏，战后修复。这是一座三层楼房，长约230米，宽140米，高22米，呈封闭式长方形，占地9万平方米，建筑面积超过4.6万平方米。最初冬宫共有1050个房间，117个阶梯，1886扇门，1945个窗户，飞檐总长近2公里。冬宫的四面各具特色，但内部设计和装饰风格则严格统一。
冬宫一隅面向宫殿广场的一面，中央稍突出，有三道拱形铁门，入口处有阿特拉斯巨神群像。宫殿四周有两排柱廊，雄伟壮观。宫殿装饰华丽，许多大厅用俄国宝石-孔雀石、碧玉、玛瑙制品装饰，如孔雀大厅就用了2吨多孔雀石，拼花地板用了9种贵重木材。御座大厅（又称乔治大厅）的御座背后，有用4.5万颗彩石镶嵌成的一幅地图。
冬宫的亚历山大柱于1830年至1839年建成，以纪念1812年亚历山大一世率俄军战胜拿破仑军队这一伟绩。为纪念战胜拿破仑，在广场中央树立了一根亚历山大纪念柱，高47.5米，直径4米，重600 吨，用整块花岗石制成，不用任何支撑，只靠自身重量屹立在基石上，它的顶尖上是手持十字架的天使，天使双脚踩着一条蛇，这是战胜敌人的象征。
冬宫面向涅瓦河，中央稍为突出，有3道拱形铁门，入口处有阿特拉斯巨神群像。宫殿四周有两排柱廊，气势雄伟。宫内以各色大理石、孔雀石、石青石、斑石、碧玉镶嵌；以包金、镀铜装璜；以各种质地的雕塑、壁画、绣帷装饰；色彩缤纷，气派堂皇。
The Small Dining-Room in the Winter Palace. Early 1898s
Architect Alexander Krasovsky
This room, redecorated in connection with the marrige of Crown Prince Nicholas Alexandrovich (afterwards Nicholas II) happened to be in the thick of events of the 1917 revolutio; here, on the night of 7-8 November, 1917 the Provisional Government of Russia was arrested.
Venus and Cupid. 1509
From the Heinrich Bruhl collection, Dresden. 1769
Not much is known about the great artist's early life. To all appearances, his real name was Lucas Mahler. He began to call himself 'Cranach' (after his birthplace) during his stay in Vienna in 1502, and with this name has gone down in the annals of world art. In 1505, at the invitation of the elector of Saxony, he moved to Wittenberg and remained a court painter almost to the end of his life. He also became a close friend of Martin Luther who taught at the University of Wittenberg. In his works Cranach explored the potential of the refined Gothic drawing, probably paying tribute to the fashion of that time. Venus and Cupid is his first painting on a subject from classical mythology.
Birth of St. John the Baptist. 1554-55
From the Antoine Crozat, Baron de Thiers collection, Paris, 1772; formerly the Cardinal Mazarin collection
There is no doubt that this picture, formerly known as the Birth of Mary, actually shows the birth of St. John the Baptist at the moment when his father, high priest Zacharias, regained his speech.
The Three Graces. 1813
From the collection of Nicholas, Duke of Leuchtenberg, St. Petersburg. 1901
The sculptural group The Three Graces was commissioned by the French Empress Josephine but remained unfinished until her death. It was her son, Eugene, who later bought the work from the sculptor.
Jupiter (Zeus)
From the collection of Marquis Gian Pietro Campana, Rome. 1862
This colossal marble statue was unearthed from the ruins of Emperor Domitian's villa at Castel Gandolfo. It is modelled on Phidias's statue of Zeus at Olympia. The god's drapery and attributes are made not of marble but metal and gilded stucco (typical for acroliths). Originally the Roman antiquary Thomas Jenkins, through Catherine II's agent Johann Reiffenstein, offered the statue to the Empress. But, cautious after the tricks played on her by the antiquary, the Empress rejected the offer. By a curious irony, during the reign of her great-grandson Alexander II, the sculpture was nevertheless acquired for the Hermitage.
Madonna and Child (The Conestabile Madonna). Late 1502 - early 1503
From the collection of Count Scipione Conestabile della Staffa, Perugia. 1870
The Madonna was painted by the twenty-year-old artist for Alfano de Diamante. In the early 18th century, his heirs adopted the name of Counts Conestabile della Staffa, and this name was subsequently attached to the present picture. Raphael is celebrated not only as the painter of the touching images of the Madonna. He is also remembered for his famous frescoes in the Vatican, whose creation was largely inspired by the murals of the Golden House of Nero (Domus Aurea) found by chance during the archaeological excavations of Roman Ruins in 1480. The discovery came like a bolt from the blue. All Romans rushed to the site, striving to see the wonderful ornaments covering the walls of the palace. Since the remains of the Golden House lay under a mighty .ayer of soil, they were at first taken for antique grottoes. Hence the name 'grotesque' given to the ornamental style that was widely modelled on classical prototypes and later embraced all kinds of decorative and applied art.
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初建于1754-1762年，1837年被大火焚毁，1838-1839年重建。第二次世界大战期间又遭到破坏，战后修复。这是一座三层楼房，长约230米，宽140米，高22米，呈封闭式长方形，占地9万平方米，建筑面积超过4.6万平方米。最初冬宫共有1050个房间，117个阶梯，1886扇门，1945个窗户，飞檐总长近2公里。冬宫的四面各具特色，但内部设计和装饰风格则严格统一。
冬宫一隅面向宫殿广场的一面，中央稍突出，有三道拱形铁门，入口处有阿特拉斯巨神群像。宫殿四周有两排柱廊，雄伟壮观。宫殿装饰华丽，许多大厅用俄国宝石-孔雀石、碧玉、玛瑙制品装饰，如孔雀大厅就用了2吨多孔雀石，拼花地板用了9种贵重木材。御座大厅（又称乔治大厅）的御座背后，有用4.5万颗彩石镶嵌成的一幅地图。
冬宫的亚历山大柱于1830年至1839年建成，以纪念1812年亚历山大一世率俄军战胜拿破仑军队这一伟绩。为纪念战胜拿破仑，在广场中央树立了一根亚历山大纪念柱，高47.5米，直径4米，重600 吨，用整块花岗石制成，不用任何支撑，只靠自身重量屹立在基石上，它的顶尖上是手持十字架的天使，天使双脚踩着一条蛇，这是战胜敌人的象征。
冬宫面向涅瓦河，中央稍为突出，有3道拱形铁门，入口处有阿特拉斯巨神群像。宫殿四周有两排柱廊，气势雄伟。宫内以各色大理石、孔雀石、石青石、斑石、碧玉镶嵌；以包金、镀铜装璜；以各种质地的雕塑、壁画、绣帷装饰；色彩缤纷，气派堂皇。
 |
The Small Dining-Room in the Winter Palace. Early 1898s
Architect Alexander Krasovsky
 |
This room, redecorated in connection with the marrige of Crown Prince Nicholas Alexandrovich (afterwards Nicholas II) happened to be in the thick of events of the 1917 revolutio; here, on the night of 7-8 November, 1917 the Provisional Government of Russia was arrested.
 |
Venus and Cupid. 1509
From the Heinrich Bruhl collection, Dresden. 1769
 |
Not much is known about the great artist's early life. To all appearances, his real name was Lucas Mahler. He began to call himself 'Cranach' (after his birthplace) during his stay in Vienna in 1502, and with this name has gone down in the annals of world art. In 1505, at the invitation of the elector of Saxony, he moved to Wittenberg and remained a court painter almost to the end of his life. He also became a close friend of Martin Luther who taught at the University of Wittenberg. In his works Cranach explored the potential of the refined Gothic drawing, probably paying tribute to the fashion of that time. Venus and Cupid is his first painting on a subject from classical mythology.
Birth of St. John the Baptist. 1554-55
From the Antoine Crozat, Baron de Thiers collection, Paris, 1772; formerly the Cardinal Mazarin collection
 |
There is no doubt that this picture, formerly known as the Birth of Mary, actually shows the birth of St. John the Baptist at the moment when his father, high priest Zacharias, regained his speech.
The Three Graces. 1813
From the collection of Nicholas, Duke of Leuchtenberg, St. Petersburg. 1901
 |
The sculptural group The Three Graces was commissioned by the French Empress Josephine but remained unfinished until her death. It was her son, Eugene, who later bought the work from the sculptor.
Jupiter (Zeus)
From the collection of Marquis Gian Pietro Campana, Rome. 1862
 |
This colossal marble statue was unearthed from the ruins of Emperor Domitian's villa at Castel Gandolfo. It is modelled on Phidias's statue of Zeus at Olympia. The god's drapery and attributes are made not of marble but metal and gilded stucco (typical for acroliths). Originally the Roman antiquary Thomas Jenkins, through Catherine II's agent Johann Reiffenstein, offered the statue to the Empress. But, cautious after the tricks played on her by the antiquary, the Empress rejected the offer. By a curious irony, during the reign of her great-grandson Alexander II, the sculpture was nevertheless acquired for the Hermitage.
Madonna and Child (The Conestabile Madonna). Late 1502 - early 1503
From the collection of Count Scipione Conestabile della Staffa, Perugia. 1870
 |
The Madonna was painted by the twenty-year-old artist for Alfano de Diamante. In the early 18th century, his heirs adopted the name of Counts Conestabile della Staffa, and this name was subsequently attached to the present picture. Raphael is celebrated not only as the painter of the touching images of the Madonna. He is also remembered for his famous frescoes in the Vatican, whose creation was largely inspired by the murals of the Golden House of Nero (Domus Aurea) found by chance during the archaeological excavations of Roman Ruins in 1480. The discovery came like a bolt from the blue. All Romans rushed to the site, striving to see the wonderful ornaments covering the walls of the palace. Since the remains of the Golden House lay under a mighty .ayer of soil, they were at first taken for antique grottoes. Hence the name 'grotesque' given to the ornamental style that was widely modelled on classical prototypes and later embraced all kinds of decorative and applied art.
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