тext: Yuta Arbatskaya, Konstantyn Vikhlyayev
It is known, that the Empress Maria Alexandrovna, who was the former owner of Livadia, was deeply involved in the park construction, advised to the gardeners, sent plants. Her recommendations and suggestions were the key factors that influenced on the landscape design of the royal residence in the Crimea. Let’s try to analyze briefly, where Maria derived knowledge of landscape gardening art, and how her attitude to gardening transformed in general over time.
The future Russian Empress was born on July 27, 1824 in Darmstadt, in the family of the Grand Duke of Hesse Louis II. Mary’s mother was Wilhelmina of Baden, the Grand Duchess of Hesse.
Maria’s mother Wilhelmina of Baden. The Lithography. The Beginning of the XIX century.
Ludwig II of Hesse. The Lithography. The beginning of the XIX century
Despite the fact that Mary spent her childhood in the castle in Jugenheime, that was 18 km from Darmstadt residence of his father, however, she had the status of a princess and used all the privileges according to her role in society. She was often taken out to the theater, for a walk and to do other activities, and impressionable girl absorbed the spirit of the time and the German way of life.
The land of Hesse, and its capital of Darmstadt in particular, were the entire carpet of gardens and parks at the beginning of the XIX century. Back in 1814, ten years before the birth of Mary, the botanical garden was established at the University of Darmstadt, by the court architect of the Duke, Johann Hess. This botanical garden is still used today as a living manual of biology for students at the local university.
The corner of the botanical garden is in Darmstadt. The photo was taken in 2011
Two English parks were located near Jugenheim: Schönbusch is one around the castle in Aschaffenburg, the other is near the castle of Oylbah. Both of them were full of marvelous beauty of the landscape constructions and park buildings. The gardens at the Benedictine Monastery in Seligenstadt didn’t remain behind from them. The monastery was famous for the Apothecary Garden, the complex included a garden of the Virgin Mary, the garden of the Abbey and the Baroque ornamental garden, which was the most interesting for us, as the rose garden existed in it.
English park is in the Castle of Schönbusch. The photo was taken in 2010
Monastery gardens of Seligenstadt . The photo was taken in 2010
But the best landscaping work is still associated with the name of Mary’s mother, Wilhelmina of Baden. In 1810 she founded the first flower landscape garden in English style – Rosenhöhe, where the main decoration was an extensive rose garden; it was on the place of former vineyards, belonging to the Grand Duke. Thus, Mary’s mother certainly had a huge influence on her daughter by her gardening hobbies. Now the antique rose garden is restored here, in which there are more than 10,000 bushes.
The rose garden in Rosenhöhe park (Darmstadt, Germany). The photo was taken in 2009
A round wooden pergola is in the rose garden of Rosenhöhe
We should mention two parks in the residences, belonging to both Mary’s grandmothers among these wonderful gardens of Hesse land, which existed in the days of her childhood. Mother of Ludwig II, Louise of Hesse- Darmstadt, owned a summer residence
The mansion of Louise of Hesse- Darmstadt in Furstenlager, 2011
Louise of Hesse- Darmstadt, Mary’s grandmother. Unknown author, 1790
The other grandmother on mother’s line owned the Rohrbach castle (Heidelberg), around which the English park was constructed with hunting grounds. Finally, the castle in Jugenheime, the home of Princess Mary, was surrounded by the park too.
The castle in Jugenheime, where the future Empress Maria Alexandrovna spent her childhood.
The postcard was taken in the late XIX century.
Thus, flowers and, especially, roses have surrounded Mary since childhood. However, not only parks and gardens filled her life. The beginning of the XIX century is the period of romanticism prosperity in literature, art, music and architecture. Hundreds, if not thousands of verses and poems were dedicated to the rose. In the early German Romanticism a flower becomes an expression of the romantic ideal to which the romantic hero constantly addresses. F. Novalis,
E. T. A. Gofman, I. Gete have left a vast poetic heritage. The sculpture on the subject of one of I.Gete’s poems was later accomplished and installed in the world’s largest rose garden — a garden of “European Rosarium” in Sangerhausen (Germany).
The first third of the XIX century was marked by the unprecedented rise of solvent public interest in collecting of picturesque canvas. A magnificent collection of paintings and porcelain was assembled in the castle of Mary’s father, in Darmstadt. A floral still life genre valued among other works of art that had arisen in the Netherlands in the early XVII century. Somewhat later, it has become fashionable to depict genre scenes from the life of florists and flower markets.
Ya. F. Van Del. The Still. 1820s
The opera was still the most influential of all the arts on the minds of educated people of that time. Opera dictated political views, attitudes and fashion.
The Opera house in Darmstadt. The Lithography of 1840
The operas of Mozart, Rossini, Donizetti and Wagner were performed on the stage of the Municipal Theatre in Darmstadt. Dramatic art and opera in particular had a significant impact on various aspects of daily life of the citizens of Darmstadt as well as throughout Europe. It was about clothing and household accessories for women – a fan, a posy holder, a hat and an umbrella — and the floral motifs were used very often in the decoration of these items.
A fan with a picture of a rose in the middle of the XIX century
Posy holders of the beginning of the XIX century
All those cute little things in all ages meant a lot for girls who dreamt of a beautiful love and a happy family life. And Princess Mary was not an exception. A variety of dresses were fashionable according to the aim of the entry among the girls and women of noble birth and just city dwellers. It was one style for the prom, and the other one for breakfast in the morning, it was the third style for the trip. In the presented water-colors of Rudolph Ackermann, the famous German publisher and inventor of the fashion, the silhouettes of dresses were depicted, that were worn in Germany in times of Princess Mary’s youth.
Dress for the opera in the beginning of the XIX century
Evening dress in the early XIX century
Finally, different kinds of diaries, albums, dried flowers, cards were always present in the fantasy world of young creatures. And that was not without roses. This is clearly demonstrated by paper lace cards, which were issued at that time and now costing a fortune in antique shops.
In the XIX century the Biedermeier style was formed in Germany and Austria (1818-1848), reflecting the lifestyle of the middle class of that epoch. The main attribute of the style was an abundance of floral motifs everywhere: flowers were in the tissues, paintings and accessories, as well as flowers in vases and pots have become an integral part of the dweller’s home interior of that time. The carpets with bright floral or ornamental patterns were put on the floors. There were pictures of a genre plan or a floral composition. The flowers in vases and luxury stands were obligatory attributes of the festively laid table. Upholstery fabric for chairs, armchairs, sofas and numerous bizarre settees also reflected a floral pattern. Jardinieres became widespread; these are skillfully made wooden stands for flowers. The bouquet in Biedermeier style (a small round bouquet) is relevant up to the present day, it is often used for wedding ceremonies.
Let’s back to the Darmstadt opera. The heir, Grand Duke Alexander, while travelling around Europe, saw his future wife exactly here, on the performance of “Vestal” to the music by Gaspare Spontini on the 13th of March, 1839. [1] Maria, who was only 15 years old then, struck Alexander by beauty and grace. The wedding ceremony and the wedding itself took place on the 16 of April, 1841 in St. Petersburg. Princess Marie of Hesse took Orthodox faith and became the Grand Duchess Maria Alexandrovna. In this way the “adult” life of a girl from Darmstadt began.
C.Robertson. Portrait of Grand Duchess Maria Alexandrovna. 1850
As soon as Empress Alexandra Feodorovna, who was Nicholas I’s wife, met Maria Alexandrovna, she began to take care of her. Even though Alexandra was German, they quickly became friends. Maria had learned in her birth country that people called the Russian Empress «White Flower» or «White Rose» from when she was a child. Alexandra always loved roses. She had lots of rose-themed paintings, silverware, porcelain, and even real roses around her. There were thousands of roses planted in places like Peterhof and Alexandria dacha, as well as on two islands named after Empress Alexandra and her daughter Olga. There was even a special rose pavilion called «Ozerki» in Peterhof that was built just for Alexandra between 1845 and 1848 by an architect named A. Shtakenshneyder.
L.Premazzi. This is the Rose Pavilion in Peterhof. 1850
L.Premazzi. This is the Rose Pavilion in Peterhof. 1850
But Maria was not inclined to vivid life. Anna Tyutcheva, who was the maid of honor wrote about her restraint: “She could be well imagined under a monastic veil, kneeling in the shadow of the high Gothic arches”. However, necessary visits to the balls, concerts and performances, constant visits, audiences, presentations of new faces, congratulations of royal personages — all of this was a mandatory court etiquette that was required to keep strictly.
From her first days in St. Petersburg, Maria, whether she wanted it or not, saw all the Petersburg society in all its beauty, its pomposity and narcissism. The passion for pomp in the grand salons hit her at every turn. The number of flowers, required for design, was merely fantastic.
M. Zichi. Ceremonial dinner in the Concert Hall of the Winter Palace on the occasion of a visit of German Emperor Wilhelm I to St. Petersburg. 1873.
Tall vases with flowers are on the table
At dinner parties and banquets, guests were often greeted with stunning floral displays that mimicked natural water features such as «rivers,» «lakes,» and «waterfalls.» In addition, tables were adorned with garlands of flowers, either laid across the surface or draped over the edges, enhancing the festive atmosphere. The art of decorative flower arrangement as we know it today emerged in the 19th century. It was during this time that bouquets were first designed according to principles of harmony in color, form, composition, and size. These early modern arrangements were notable for their large size, imposing presence, and symmetry. Most were either round or flat in shape and were further embellished with an array of decorative elements such as bows, ruffles, ribbons, and lace.
Initially, the abundance of fruit available to the Russian aristocracy, even in the midst of the harshest winter, greatly astonished the Grand Duchess. Over time, as she became familiar with the majestic parks and gardens of Peterhof, Tsarskoye Selo, Gatchina, Oranienbaum, and especially the royal greenhouses, her surprise faded. She began to order rare exotic fruits and flowers for dinner parties and balls. By her command, an apple tree bearing fruit was placed in a tub at Tsarskoye Selo during autumn, and in the room used by Maria Alexandrovna as a dining room—which was originally Catherine’s bedroom—there were baskets filled with strawberries each spring.
Flowers held a significant place in the charm and grandeur of ballroom events. The trends in ballroom floral fashion have evolved in step with advancements in horticulture and the global transportation of blooms. The art of embellishing the ballroom was an essential aspect of such festive occasions. During the era of Maria Alexandrovna, it was customary to craft garlands and bouquets with a luxurious abundance. However, the pinnacle of floral artistry was the elaborate adornment of ladies’ ballroom gowns. The meticulous selection and placement of flowers stirred both passionate tears and delight, while inspiring eloquent praises dedicated to this delicate craft. The onset of the ball season invariably plunged the ladies of high society into a frenzy of excitement. Conversations were abuzz with talk of the latest fashionable outfits and the eager anticipation of making a grand entrance. When it came to accessorizing their ballroom attire, roses were the favored choice amidst the wide array of flowers, although other blossoms were by no means overlooked. Roses were used to enhance dresses, hairstyles, and even ball bags, while also featuring in the painted designs on fans and dance cards. Additionally, artificial roses became a popular embellishment for shoes, adding an extra touch of elegance to the overall ensemble.
A posy holder, also known as a porte-bouquet, was an essential accessory for a lady attending a ball. It served as a decorative case in which she could place her bouquet of flowers. Traditionally, a dancing lady was expected to carry fresh flowers either in her hands or as part of a corsage. On occasion, the bouquet even functioned as a subtle form of communication, effectively serving as an invitation to dance.
The flower ballroom had its own set of etiquette rules, with particularly stringent standards applied to the floral adornments that graced the ladies’ attire at formal court gatherings. Introduced into fashion in the 18th century, straw hats were customarily embellished with flowers, a trend that evolved frequently, reflecting the changing whims of style. As fashion publications began to circulate regularly in Russia starting in the early 19th century, the selection of floral hat decorations varied almost monthly. Throughout the decade from 1823 to 1833, the prevailing trends shifted among white, green, and pink hats, each typically accented with a complementing sprig of roses.
In 1830 gift “ladies botany”, which is called “Selam, or the Language of Flowers”, written by the poet and translator D.P. Oznobishin in St. Petersburg, was printed. But the novel “Sabina Gerfeld or dangers of the imagination” became the real encyclopedia of etiquette language of flowers and detailed “instructions” for its use. It was edited in Paris in 1798, and in 1802 it was translated from French and was offered to Russian reader.
The language of flowers was marked by an elegant simplicity and reachability. Each plant or flower was associated with specific words or phrases that facilitated the delicate expression of romance, uncertainties, and a spectrum of emotions deemed too sensitive for candid articulation. Virtually any floral embroidery or a carefully assembled bouquet conveyed a covert message, either as a compliment or a cryptic challenge. Love declarations, heartfelt emotions, and even reproaches for perceived indifference were silently communicated through the hues and forms of blossoms. Various species and the nuances of their arrangements, down to the shade of each petal, could craft intricate soliloquies and elaborate discourses without uttering a single word.
A rose took the first place in flower “alphabet of love”. For instance, a red rose stands for “you have won my heart, and yellow rose expressed doubts: “Is your love sincere?”; white rose called to silence. Even rose petals, thorns (or intentional lack of it), unblown buds had their own lines: “yes” was a petal, “no” was a rose branch, red bud was “hope”, white one was “I save old feelings”.
The first rule of this language “grammar” consisted of the location of flowers, stood out for three particularly important areas: on the head, chest and directly at the heart. For example, the language of calendula flowers meant sadness, grief, anguish, anxiety. If they were fastened on the chest, it showed that its owner missed somebody and was sad, but calendula, coupled with a rose, talked about the sweet agony of love. The second rule of flowers’ language was to create a negative, negatory or opposite meaning by “turning” the flower. So, pansies attached (or pictured in a letter, note) in the normal, upright position, asked: “remember me”. The same upside down flowers urged not to remember, but rather forget.
To conclude, let’s delve into the ballroom hairstyles of the era, specifically their floral adornments. During the late 1830s and early 1840s, the ‘à la Taglioni’ wreath stood out as an exceptionally striking ornament. These wreaths were intricately crafted from Japanese roses. The renowned Italian ballerina, Marie Taglioni, inspired this trend during her tours in St. Petersburg from 1837 to 1842. Indeed, her presence instigated a widespread enthusiasm for gifting flowers to performers, an obsession informally termed ‘flower madness.’ This period marked a fervent outpour of adulation towards artists, flourishing alongside the resurgence of Italian opera in Russia after a hiatus of two decades. Society during that time was unmistakably stirred, nearly to the point of frenzy, by the captivating renditions of Italian thespians. Audiences would shower the stage with bouquets and wreaths, while sighs of ecstasy echoed through the halls. What began as simple adoration escalated into a frenzy of floral tributes. Enthusiastic fans purchased bouquets from vendors well in advance of the performances, while the most dedicated among them took to crafting their own intricate floral arrangements in hopes of catching the eye of their beloved singers. Notably, even the esteemed Grand Duke Alexander and his wife were often in attendance at the opera, partaking in this elegant tradition.
Upon Princess Mary’s arrival in St. Petersburg, the Russian Empire boasted a multitude of gardens and parks, both imperial and privately owned, despite the absence of a structured system for the national development and promotion of horticultural activities. Notable botanical gardens were already established in some of the empire’s major cities and principal agricultural regions, including the Imperial Garden in St. Petersburg and the Crimea. Botanical institutions affiliated with universities in Moscow, Warsaw, Kiev, and Dorpat, as well as gardens in Kremenetz and Kharkov, were thriving. Furthermore, a military and botanical garden flourished in Sukhum. Exquisite conservatories and greenhouses, which housed a variety of exotic and tropical flora, graced all of the imperial palaces, underscoring the royal affinity for botanical splendor.
On February 18, 1855, Nicholas I passed away, which led to the subsequent coronation of Alexander II and Maria Alexandrovna. This grand event unfolded within the hallowed walls of the Assumption Cathedral, situated in Moscow’s Kremlin. A protracted period of festivities marked this auspicious occasion, spanning from August 14 to August 26, 1856.
The autumn exhibition, organized by the Moscow Society of Horticulture Enthusiasts, was strategically scheduled to coincide with a significant event. It opened its doors at the prestigious Great Hall of the Fourth Moscow Gymnasium on the 18th of August. An extensive catalog of the exhibition, complete with a French translation, was made available to the public on the subsequent day. Although Empress Maria Alexandrovna was unable to grace the event with her presence, Grand Duchess Maria Pavlovna and Prince P. G. Oldenburgsky took the opportunity to meticulously examine the displays. Their visit was not just a formality; as noted in the official report, they sincerely expressed their utmost satisfaction with the exhibition and commemorated their attendance by signing their names, leaving a lasting token of their visit.
Founded in 1858 in St. Petersburg, the Imperial Russian Society of Horticulture sparked a veritable revolution in the spread of advanced knowledge regarding floriculture within Russia. The establishment of this leading society heralded the flowering of a national passion for horticulture, nurtured by both professional gardeners and scientific botanists, and patronized by the highest echelons of Russian aristocracy. In 1859, the Empress Maria Alexandrovna, Dowager Empress Alexandra Feodorovna (shortly before her passing), Grand Duchesses Alexandra, Elena Pavlovna, and Maria Nikolaevna, as well as Prince Peter G. of Oldenburg, were all honored as members of the Society. The Grand Duke Nicholas Nikolaevich the Elder served as the Society’s patron, and the Chairman of the Board of Trustees was State Chancellor Count Karl Nesselrode.
Since the first day of the Society foundation, one of the main tasks had been to popularize floriculture through annual public exhibitions of gardening. Typically, they were held in Manezh.
View from the stairs at the entrance to the “building in Moorish style”. The picture of the journal “Bulletin of the Russian Society of Horticulture”. 1860
The leaders of the Society of Horticulture in Moscow also had a grand spring exhibition in 1861 against the background of successfully carried out exhibitions in the previous three years in St. Petersburg.
L.Premazzi. Flower Exhibition in Moscow in 1861
Such a general picture, described above, had represented the horticulture and floriculture in Imperial Russia by 1861. Maria initially only watched increasing day by day interest of floricultural hobby of the capital nobility; her possible activity limited three things in this case, these were: noted name of Dowager Empress Alexandra Feodorovna as the patron of all Russian Agriculture and Horticulture Societies, the need to educate her own children and, finally, poor health, undermined by frequent births (the eighth child was born in 1860). Doctors would discover tuberculosis later, in the early 1870s.
Maria, being the Grand Duchess, took trips to the water resorts in Germany almost every year, as it was accepted at the imperial court. In Europe she had an opportunity to compare the situation in floriculture in St. Petersburg and Moscow.
Thus, she had had innumerable examples concerning to the possible future structure of Livadia by the time of arrival of the Empress Maria Alexandrovna in the Crimea. The memory of the “rose” predilections of mother in Darmstadt, “rose mania” of mother-in-law Alexandra Feodorovna, the whole flower entourage of ballroom and formal presentations, as well as frequent public flower exhibitions in St. Petersburg, undoubtedly served as awakening of the sovereign’s interest in horticulture and floriculture. Therefore, an unexpected gift from her husband — Livadia — was very helpful. In other words, good coincidence of circumstances and dormant for the time being desire to own cozy nook fully appeared, when the Empress first stepped by her foot on the blessed land of Livadia…