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Academy named after al Stieglitz. Museum of the Arts and Industry Academy named after

Museum of Baron A.L. Stieglitz On the territory of the former Salt Town in 1885-1895. a museum building was erected. The building was built according to the design of the first director of the museum, architect. R.A. Messmacher. By the time the museum opened, it contained over 15,000 works applied arts. After the revolution, the collection was transferred to the Hermitage. CENTRAL SCHOOL OF TECHNICAL DRAWING of Baron A. L. Stieglitz (Solyanoy lane, 13-15) Art and Industry Academy named after. Stieglitz is one of the most famous art universities not only in Russia, but also in Europe and the world. The history of the academy begins in 1876, when, according to the rescript of Alexander II, the central school was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz (1814 - 1884). technical drawing The history of the school before the revolution is the history of intensive development and formation of the school. Founded Jan. 1876 ​​(opened 11/12/1879) along with the primary one. school of drawing, drawing and modeling on the initiative and at the expense of Baron A. L. Stieglitz. The school existed on interest from the capital bequeathed to him in 1884 (approx. 7 million rubles) and trained artists of decorative and applied arts for industry, as well as drawing and drawing teachers for secondary art and industrial schools. The school became known as Central (TSUTR) after its creation in the 1890s. branches in Narva, Saratov, Yaroslavl. After October 1917, the school was transformed several times. In 1918, the school was reorganized into the Petrograd State Art and Industrial Workshops, which in 1922 were transformed into a school for architectural decoration of buildings under the city Executive Committee. Closed in 1924. In 1943-45, on the basis of TSUTR, the Art and Industry was created. school (now the Academy of Arts and Industry). Ch. The school building was built in 1878-81 (architects R. A. Gedicke and A. I. Krakau) and added a 5th floor (1886, architect Messmacher). The adjacent museum building was built in 1885-96 according to the design of Messmacher (since 1945 the Museum of Decorative and Applied Arts). In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative, applied and industrial art; in 1948 it became University - Leningrad Higher Art and Industrial School. Since 1953, LVHPU has been named after People's Artist of the USSR Vera Ignatievna Mukhina. In 1994, LVHPU named after. V.I. Mukhina was renamed the St. Petersburg State Academy of Arts and Industry. In December 2006, the academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Academy of Arts and Industry named after A.L. Stieglitz (SPGHPA named after A.L. Stieglitz).

Saint Petersburg. Museum of Applied Arts of the St. Petersburg State Academy of Arts and Industry named after. A. L. Stieglitz

Museum of the Art and Industry Academy named after. A.L. Stieglitz was always in the center cultural life St. Petersburg. Its unique museum collection is distinguished by its great diversity and high artistic level of its exhibits. Today the museum's holdings include about thirty thousand objects of applied art from antiquity to the present day. This is an extensive collection of Western European porcelain and oriental ceramics, furniture of the 16th-19th centuries, a collection of Russian tiled stoves of the 18th century, artistic metal and fabrics, as well as the best student works of the last half century, reflecting all areas of Soviet decorative and applied art.




In fourteen halls located on the ground floor, you can see more than 1,300 works of decorative and applied art and artistic crafts from the 9th century BC. until the beginning of the twentieth century. IN Italian gallery an exhibition of Dutch and French cabinets of the 16th-19th centuries was launched; Italian and Spanish majolica, French and English faience, German “steinguts” (products made from clay-stone masses) and J. Wedgwood’s “jasper masses”, Meissen and Berlin porcelain - all this can be seen in the museum today.

Ancient Russian stoves were collected throughout Russia especially for the museum.








Interiors of the Stieglitz Academy of Arts and Industry. Furniture carved from stone.

Academy Halls. Big exhibition hall- This two-story hall, reminiscent of the courtyard of an Italian palazzo, was originally intended for student and teaching exhibitions. It was the largest not only in the museum, but in all of St. Petersburg. The perimeter of the hall is surrounded by a spectacular two-tier gallery, which creates best conditions for an overview of the exhibition. This arcade serves as a support for a double glass ceiling (originally the inner dome was stained glass, and a greenhouse was located in the space between the domes). By analogy with the facade of the building, the hall is decorated with a frieze with sculptural portraits artists, architects and sculptors. The arcades of the second tier are separated by powerful pylons decorated with four columns. Half-arcs of a two-flight marble staircase lead to the second floor gallery. At the top of the stairs under Messmacher there is a marble statue of Baron A.L. Stieglitz sitting in an armchair by M.M. Antokolsky. IN Soviet era the monument was removed. But the sculpture survived, and in June 2011 it was returned to historical place(photo source: ). Since 2002, a plaster copy of the large frieze of the Pergamon Altar (180-160 BC), donated by the Hermitage, has been placed along the perimeter of the Great Hall.

Furniture set for the living room in the “third Rococo” style. FROM THE PALACE OF THE COUNTESS E.V. SHUVALOVA. France, Paris, 1890s. Birch, carving, French enamel, gesso, gilding, embroidery, metal, bone.












In 1876, by decree of Alexander II, the Central School of Technical Drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludvigovich Stieglitz. The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 and trained artists of decorative and applied arts for industry, as well as drawing and drafting teachers for secondary art and industrial schools. January 1898 - S. P. Diaghilev organizes an Exhibition of Russian and Finnish artists, in which he participates along with A. N. Benois and M. A. Vrubel Finnish artists V. Blomsted, A. Gallen-Kallela and others. The school began to be called Central after the creation of branches in Narva, Saratov, Yaroslavl in the 1890s. The first director was from 1879 to 1896 - architect Maximilian Egorovich Messmacher. In 1892, 200 people studied at TSUTR; there were departments: general art, majolica, decorative painting and carving, embossing, woodcut and etching, porcelain painting, weaving and printing. Over the years, CUTR teachers were: A. D. Kivshenko, M. K. Klodt, A. T. Matveev, V. V. Mate, A. I. von Gauguin, N. A. Koshelev, A. A. Rylov. After October 1917, the school was transformed several times. In 1918, the school was named the State Art and Industrial Workshops. In 1922, the school, with the attached museum and library, merged with the Petrograd VKHUTEIN, and in 1924, ceased to exist as an independent educational institution. In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative and industrial arts. In 1948 it became a higher educational institution - the Higher Art and Industrial School. In 1953, the Leningrad Higher Art and Industrial School, by decree of the Soviet government, was given the name People's Artist USSR, Full Member of the USSR Academy of Arts - Vera Ignatievna Mukhina, who made a great contribution to the creation of monumental and decorative and applied art of the USSR. In 1994, LVHPU named after. V.I. Mukhina was transformed into the St. Petersburg State Academy of Arts and Industry. On December 27, 2006, the academy was named after A. L. Stieglitz. The new name of the academy is St. Petersburg State Academy of Arts and Industry named after A. L. Stieglitz.

Named after A. L. Stieglitz was founded in 1876. Now this is one of the most famous educational institutions in Russia. The university is located in the historical part of St. Petersburg, the second largest city in the country and the main cultural center.

Start

The creation of the Stieglitz Academy in St. Petersburg was associated with rapid growth industrial production, covering European countries V mid-19th century. Semi-handicraft manufactories were replaced by factories where it became possible to produce goods in large quantities. However, it soon became clear that consumers were not just interested in utilitarian things, but in beautiful products with a memorable design.

In 1851, the famous art and industrial exhibition was held in England, at which different countries presented their best goods and products. In addition to traditional embroidery, ceramics, weaving, and jewelry, the companies presented amazing factory products made of wood, cast iron, and steel. The apotheosis of industrial achievements was “ Crystal Palace": the pavilion where the exhibition took place seemed to be woven from a metal web and “sheathed” with large glass panels.

Birth of an art academy

Russian industrialists who visited the fair were greatly impressed. The idea of ​​creating national school for training artists specializing in applied arts. In 1860, a school of technical drawing was formed on the basis of the Moscow school. However, her capabilities were clearly not enough.

According to popular opinion, the initiative to organize a specialized art and industrial educational institution in St. Petersburg was made by Senator Alexander Polovtsov, the son-in-law of the richest (according to contemporaries) banker in Russia - Baron Stieglitz. The banker liked the idea, and he established a special fund in the amount of 7 million rubles (huge money at that time), on the interest from which the Central School of Technical Drawing, created in 1876, existed. It trained decorative artists in applied disciplines and technical drawing teachers for other schools that began to appear throughout the country. Thus, TSUTR became the progenitor of the Academy. Stieglitz.

Development

The Soviet government looked at the role differently artistic arts in industry. Any decorations were considered unnecessary, a manifestation of philistinism. In 1922, TSUTR was closed and later reformatted into a general education institution.

The rebirth of the Academy. Stieglitz occurred on 02/05/1945. On this day, courses for training restorers began. After the war many historical buildings and works of art needed restoration.

In 1953, the Leningrad Higher Art and Industrial School (LVHPU) named after V.I. Mukhina was founded. People called it the Mukhinsky School. We must pay tribute, an amazing team was formed within its walls, which was able to restore bit by bit centuries-old traditions predecessors and at the same time bring a lot of new things into science industrial design, arts and crafts, conservation historical heritage. In 2007, the university was reorganized into the St. Petersburg Academy of Arts and Industry named after A. L. Stieglitz.

Today's day

Currently, the university has about 1,500 students and 500 employees. Applicants can receive higher education in the field of monumental and decorative art, design, art history and restoration.

The faculties of the Stieglitz Academy in St. Petersburg actively cooperate with structural organizations and industrial enterprises. For example, the industrial design department works side by side with famous Russian companies, including automakers KamAZ and AvtoVAZ, shipbuilders Almaz and Aurora, NPO LOMO, and the Svetlana factory. The fashion design department hosts numerous competitions and festivals.

SPGHPA. them. A. L. Stieglitz has long history successful international relations. Teachers and students cooperate with higher educational institutions and creative organizations in Germany, Finland, China, France, Japan and other countries.

Faculty of Monumental and Decorative Arts

Artists of all types are trained here. The variety of specialties is determined by the innovative directions of the 21st century, as well as traditions drawn from the past. Applicants art academy can choose one of many specializations:

  • History of art and civilization.
  • Artistic processing of metals.
  • Graphic art, book illustration.
  • Ceramics, glass.
  • Painting, restoration.
  • Wood painting.
  • Sculpture.
  • Textile design.
  • Interior and equipment.
  • Monumental and decorative painting and sculpture.

Faculty of Design

First of all, this is a school of artistic and design creativity, which is faced with the task of determining the optimal ways to integrate design, pedagogy, science and industrial production. Curriculum is built on creating a kind of launching pad for creativity. The following specialties are taught here:

  • Costume design.
  • Environment design.
  • Graphic design.
  • Furniture design.
  • Industrial design.

Achievements

The famous university has trained a galaxy of talented and successful artists and designers for the manufacturing industry. Looking for aesthetic values graduates actively form new trends for architecture, design, monumental, decorative and applied arts.

Today former students work successfully on industrial enterprises, participate in projects of research institutions, as well as in construction bureaus, art schools And creative organizations. In addition, students of the Academy named after. Stieglitz made a significant contribution to the development material culture countries. For high achievements The team was awarded the honorary Order of the Red Banner of Labor.

Social and cultural life

The Academy has a developed material and technical base. There is a museum with more than 35,000 objects of applied art and a collection of student works. The library has more than 140,000 publications and a rare book depository for 10,000 items. Catering provided.

Excellent facilities for sports have been created, and gym. There is a student dormitory located on Kuznetsova Avenue 30/9, St. Petersburg. By the way, during entrance exams and training courses, applicants may be accommodated in a dormitory.

Museum

At the Academy. Stieglitz has a wonderful museum (founded in 1878). It presents both the work of teachers and students of the academy different years, as well as other works of art.

Creation art museum The same Alexander Polovtsov contributed to the educational institution. Together with the architect Maximilian Messmacher, he convinced Baron Stieglitz of the need to have a collection of works of applied art - both as a teaching aid, and for the development of students’ artistic imagination. The baron allocated an additional 5 million rubles for the implementation of this idea, which made it possible to purchase art books for the school library, new exhibits for the museum, printed graphics, original paintings and drawings Western European artists, products of master jewelers, works of decorative artists in various industries.

Large amounts of money were spent on purchasing specialized exhibits and works of art at Parisian auctions; the best and unique lots were often purchased. Thanks to these acquisitions, the school museum became the owner of:

  • Samples of ceramics from archaic times.
  • Jewelry.
  • Archaeological objects of the ancient Phoenicians.
  • Antique furniture.
  • Antique fireplaces.
  • Products from ceramic centers in Italy, France, Germany.
  • Collections of French tapestries.
  • Original paintings by Tiepolo.
  • Original drawings by artists and decorators, including Giovanni Castiglione, Franceso Guardi, Perino del Vaga, Tiepolo, Polidori da Caravaggio, Annibale Carracci, Gilles Marie Oppenor and others.

After the death of Stieglitz, Alexander Polovtsov had to bring logical conclusion the work to improve the new art school. He gave considerable sums to charity and the development of the material and technical base.

St. Petersburg State Academy of Arts and Industry named after A. L. Stieglitz- higher art educational institution located in St. Petersburg.

The main building of the academy is located in a building designed by the first director of this educational institution, architect M. E. Messmacher.

From 1953 to 1994 the institute was called Leningrad Higher Art and Industrial School named after V. I. Mukhina, which is why in the media it is often called “ Mukhinsky School", or simply " Fly».

Story

In 1873, the “Regulations on drawing schools and classes in the provinces” were approved. Many craft schools carried out production orders for projects famous artists, mainly in the "Russian style".

In 1876, wanting to promote the training of specialists for the art industry in Russia, financier and textile manufacturer Alexander Ludwigovich Stieglitz (1814-1884) donated one million rubles to the creation of the Technical Drawing School in St. Petersburg. In 1878-1881. erected in Salt Town special building designed by architects R. A. Gedicke and A. I. Krakau. On the second floor of the Central School of Technical Drawing of Baron Stieglitz, inaugurated on December 29, 1881, there was a small educational museum and library. Stieglitz was convinced to create a museum at the School by the outstanding philanthropist Alexander Alexandrovich Polovtsov (1832-1909). Member State Council, Secretary of State, initiator of the creation of the "Russian Historical Society" in Russia (1866), publisher of the famous "Russian biographical dictionary", Polovtsov, married to adopted daughter Baron Stieglitz, 1891-1909 was the chairman of the School Council, acquired own funds works of art, rare books, engravings. Works of art were donated to the museum by Prince S. S. Gagarin, collector M. P. Botkin, princes N. S. Trubetskoy, A. B. Lobanov-Rostovsky, Count A. V. Bobrinsky and many others. In 1879-1880 Heinrich Schliemann, closely associated with commercial activities with Russia, donated to the museum a collection of antique gold and ceramic items that he discovered during excavations of the Hissarlik hill in Asia Minor.

In 1885-1896. The new museum building was erected according to his own design by Maximilian Egorovich Messmacher (1842-1906). Previously, from 1874, Messmacher taught at the Drawing School of the Society for the Encouragement of the Arts. Architect, draftsman, watercolorist, Messmacher special attention, according to the worldview of the Historicism period, devoted to the study of the “history of styles,” which he taught at the Stieglitz School along with decorative painting and watercolor. Since 1879 he was the director of the School. Taking as a basis the Venetian architecture of J. Sansovino and the Basilica in Vicenza by A. Palladio (see vol. 2, fig. 598), Messmacher created a huge exhibition hall with overhead light, and decorated the remaining halls in “historical styles”: Medici Hall, Henry Hall II, Henry IV Room, Flemish Room, Louis XIII Room, Room Louis XIV, Tiepolo Hall... For each hall, appropriate subjects were selected for students to study. The principle of exhibition “by style” and architectural stylization of interiors were known in Europe at that time and were a visible embodiment of the ideology of Historicism. Messmacher, with his characteristic pedantry and attention to detail, brought this principle to the absolute.

In 1885-1886 Polovtsov traveled abroad to purchase new art objects. In the School Museum, as a result of this activity, a unique collection tapestries, Italian majolica, Limoges enamels, Sevres, Chinese and Japanese porcelain, electroplated copies of precious metal products, ornamental engravings. By the end of 1913, the collection consisted of about 21 thousand exhibits. In the halls of the museum, classes were held on the history of styles and ornaments; students copied exhibits in pen drawings, watercolor techniques, and ink washes.

The training program was based on the experience of the Stroganov School in Moscow and art and industrial schools in France, England, and Germany. The main subject was drawing, which was divided into “general” and “special”. After two classes of general art training, students moved on to special ones: a class of pen drawing and ink washing, “photography of artistic and industrial objects” (meaning graphic copying), “a class of drawing from fresh flowers.” General course The drawing also ended with special sections: drawing “multi-color ornaments with relief”, “composition of ornaments”, engraving and lithography.

The education system at the Stieglitz School was not progressive, moreover, in comparison with advanced schools Western Europe, the pedagogical system of G. Semper and H. Cole and even the Drawing School of the Society for the Encouragement of the Arts, it was a “yesterday”, a conservative educational institution “in the German way” (Germans predominated among the teachers, immigrants from the Baltic states and Finland dominated among the students). Nevertheless, the activities of the School, and above all M.E. Messmacher, had great importance for the development of the "art industry" in Russia.

Technical Drawing School

School in the artistic culture of Latvia

From the first years of creation Central School of Technical Drawing, this educational institution has become very popular among young people in Latvia who want to get a degree.

IN TSUTR About 130 ethnic Latvian students were educated. Some of them subsequently became teachers of this school, among them: Gustav Shkilter - a specialist in decorative finishing of buildings (1905-1918), Karl Brenzen - taught artistic treatment glass and stained glass (1907-1920), Jacob Belzen - teacher of drawing and painting (1905-1917), Julius Jaunkalnins - porcelain painting (1896-1918).

Masters of art, educated at the Central School of Technical Drawing, subsequently laid the foundation artistic culture Latvia and became the creators art education Latvian Soviet Socialist Republic:

State art and industrial workshops

LVHPU named after V.I. Mukhina

Academy of Arts and Industry

At LVHPU named after. V.I. Mukhina was transformed into the St. Petersburg State Academy of Arts and Industry.

The university has 1,500 students and 220 teachers.

Even many native St. Petersburg residents do not know full name this educational institution, although its unofficial nickname is well known to every city resident. “St. Petersburg State Academy of Arts and Industry?” Does this phrase mean anything to anyone? What about the Mukhinsky School or just “Mukha”?

The emergence of this famous educational institution is associated with the activities famous entrepreneur and philanthropist, Baron Alexander Stieglitz. Although at Stieglitz’s enterprises the working conditions were close to slave-like, Alexander Lyudvigovich himself often felt the desire to “pay back his debt to society” by allocating funds for various social projects.

In 1876, Alexander Lyudvigovich allocated 5 million rubles in gold (a fabulous sum at that time) for the creation of the School of Technical Drawing. This educational institution was supposed to train applied artists: blacksmiths, designers, glassblowers, furniture makers, fashion designers. For the construction of the school building, a place was chosen near the Fontanka, where salt “shops” - warehouses were once located. These warehouse buildings gave the name to the nearby lane - Solyanoy.

The German architect Maximilian Egorovich Messmacher was invited to build the school, who then became the first director of the new educational institution. Stieglitz and Messmacher believed that students should learn from the best examples of world art, so the interiors of the building were decorated with royal luxury in the style Italian Renaissance. Stieglitz also donated a collection of paintings, glass and carpets to his educational institution. The salaries of professors and the current expenses of the school were financed by interest on a capital of one million rubles.

Since Stieglitz himself was a native of Livonia, it should not be surprising that in the first decades of the existence of the School of Technical Drawing, a significant part of its students came from the Baltic states, especially from what is now Latvia. For example, Richards Zarins, the creator of the coat of arms and banknotes of Latvia, studied there; author of the national flag of Latvia and its first postage stamp Ansis Cirulis, the founders of professional Latvian sculpture - Teodors Zalkaln, Gustav Škilter, Burkard Dzenis and others.

After 1917, the school was transformed and became the State Art and Industrial Workshops. In 1922, they, together with the museum and library, merged into the Petrograd VKHUTEIN, and two years later the State Art and Industrial Workshops ceased to exist as an independent educational institution. The museum became a branch of the State Hermitage.

Only in 1945, on its basis, the Leningrad Art and Industrial School named after V.I. Mukhina was opened, which soon became one of the most famous educational institutions cities. Among the graduates of the Mukhinsky School were M. Shemyakin, spouses Olga and Alexander Florensky, and Dmitry Shagin.

Many myths and legends are associated with the Mukhinsky School. So, before exams, students bring flowers to the angels who decorate the lanterns before entering the building. According to legend, this is the local representative of the city's guardian angel, whose headquarters are located at the Peter and Paul Cathedral. Another legend is associated with the front staircase of “Mukha”. First-year students have the right to walk only on its left side, since right side Muse walks up the stairs, nervously reacting to those who are nipping at her heels. For mysterious and mysterious reasons, this rule no longer applies to senior students.

Another highlight is the school's glass dome, which allows students to sketch the building's interior during class. In Soviet times, students protesting against totalitarianism often climbed up to this dome while drunk and lay naked on it, shocking the painters below. Legend has it that the glass of the dome sometimes could not withstand the weight of naked bodies and the matter was not without victims...

Was in the museum and Medici Hall, dedicated to the masters decorative and applied arts that glorified Florence, and their patrons. The ceiling of the hall is decorated with four medallions with portraits of representatives of the Medici dynasty and other figures. Under Messmacher, in the hall there were display cases with Italian and German plaques of the 15th-17th centuries, mainly on ancient mythological and Christian stories. Medici Hall in 1896 (photo source:):

Second floor, where else but through Great Hall, it was possible to hit the wide Roman stairs, was dedicated to the halls of English, Italian, Flemish and French art XVI-XVIII centuries. Thus, the exhibition of Italian art occupied five halls, including a spacious Tiepolo Hall dedicated to art Venetian Republic 18th century and sometimes called Venetian hall(photo source: ).

The decoration of this room with a picturesque ceiling and stucco molding was reminiscent of the decoration of the library in the Venetian Doge's Palace. Unique Venetian art glass vessels, Delft faience, French baroque chests of drawers, fabrics, lace, fans and, most importantly, five magnificent paintings brushes Tiepolo(c. 1725), acquired by Messmacher specifically for his museum (now they are in the Hermitage). Venetian Hall in 1896 (photo source:):

The decoration of the Venetian Hall has not survived to this day.

M.E. Messmacher. Design project for the ceiling of the Venetian Hall (Tiepolo Hall) (source:):

Exposition Italian Renaissance was also located in Farnese Hall, the design of which was inspired by the luxurious decoration of Cardinal Farnese's palace in Piacenza, built in the mid-16th century. Contemporaries considered the ceiling of this hall, decorated with deep gilded oak coffers, to be Messmacher's true masterpiece. The hall exhibited marble Renaissance reliefs by the Venetian sculptor Lombardi, rock crystal vessels, boxes, miniature portraits, etc. View of the Farnese Hall in 1896 and in our time (now the hall does not belong to the museum, but belongs to the School) (photo sources: and ):


The display of the history of the development of Italian decorative and applied arts was completed by copies Raphael's Loggias (Papal Galleries). These galleries, decorated with grotesque ornaments, displayed Italian furniture and fabrics of the 16th-17th centuries, as well as Flemish and French tapestries (now in the Hermitage). Fragment of the wall painting of the Papal Galleries, photo from 1896 (source:):

M.E. Messmacher. Design project Papal Gallery(source: ):

The French enfilade of the museum was conceived by Messmacher with the aim of showing the development of the residential interior of France during the Renaissance. For this purpose, the halls of Henry II, Louis XIII, Louis XIV, etc. were created. Each elegantly decorated hall contained first-class works of art, specially selected by the architect.

So, Henry's hallII was decorated with carved panels, dark blue velvet with royal coats of arms and tapestries, and works of art were displayed there French Renaissance, including faience of the first half XVI century. Samples of Italian majolica were also collected here. A noticeable decoration of the hall was the Italian fireplace of the 16th century (photo source:).

All this later ended up in the Hermitage. And of the entire decor of the hall, only the rich decoration of the ceiling with deep oak coffers decorated with the royal coat of arms of France has survived to this day (photo source:).

General view Hall of Henry II in our time (photo source:):

Intimate, but very elegant Louis HallXIII was decorated with painted beams, and the walls were covered with wooden panels and painted with arabesque patterns. The hall gave an overview of the decorative and applied arts of France in the first half XVII century.

The current view of the Louis XIII Hall (photo source:):

Dedicated to French art of the second half of the 17th century Louis HallXIV, decorated with a series of tapestries “The Months, or Royal Residences” based on the sketches of Charles Lebrun (now tapestries in the Hermitage). The display cases were filled with Sevres and Meissen porcelain. Also on display was a collection of antique French watches plus artistic furniture by the royal master Andre Boulle (now, again, in the Hermitage). The Louis XIV Hall looked like this at that time (photo source:):

M.E. Messmacher. Design project for the Louis XIV Hall (