Part of a 14-panel panorama etching of 17th-century buildings in St. Petersburg, Russia

Daily Life in St. Petersburg

Image 344

Anna Whistler took James and Willie in 1844 to a toboggan hill (ice hill), where they saw Colonel Todd and the Risleys enjoying themselves.

Wooden structure creating a slide of ice centre; crowds on the streets on either side between the buildings of Admiralty Square, Saint Petersburg
Toboggan Hills on Admiralty Square During Shrovetide in 1835. Mid-ninteenth century. Lithograph tinted with watercolor. 38.5 x 45.5 cm. [full resolution image]

Image 345

Every year at Easter, James and Willie attended the fair on Admiralty Square.

Structure to the left with an ice slope; crowd in the foreground and right side; booths and activities throughout; yellows and bright tones
Vasilii Sadovnikov (1800–1879). Fair Booths on Admiralty Square. 1849. Watercolor on paper. 31.1 x 42.7 cm. State Russian Museum, St. Petersburg. [full resolution image]

Image 346

Swings, such as those seen by the Whistlers in Admiralty Square at the Shrovetide fair

peasants selling wares at booths; behind, a structure about 15 feat high with four buckets to hold people, spinning on an axel
Butter Week in St. Petersburg (detail). 1869. (Die Gartenlaube [The Gazebo] [1869]: p. 85) [full resolution image]

Image 347

James and Willie were taken to the frozen Neva to ride on sleds drawn by reindeer, an enterprise of Lapplanders.

front: two reindeer pulling a sleigh with a driver with a long whip and two passengers; crowd and other reindeer sleighs behind
Nikolai Vanifantiev. Races in St. Petersburg. Amusements on the Neva. 1846. Lithograph. 22.2 x 34 cm. Gr–25221. State Russian Museum, St. Petersburg. [full resolution image]

Image 348

Anna Whistler records many instances of James and Willie skating at the English Club skating ground on the Neva.

Two men skating centre; man putting on skates to left; people selling and consuming drinks on the right; Russian official building in the background
Akim Egorovich Karneev (1833–1896). Ice Skating on the Neva. First half of the 19th century. Engraving tinted with watercolor. 29.7 x 30 cm. Museum of the History of St. Petersburg. [full resolution image]

Image 349

Each year, after the ceremony of the Blessing of the Neva had taken place, navigation reopened.

Many boats on the Neva river to the left mid-ground; people foreground on the right and centre watching
Vasilii Fyodorovich Timm (1820–1895). The Opening of Navigation on the Neva River. 1858. Lithograph from Russkii khudozhestvennyi listok [Russian Art Newsletter]. (Lotman and Pogosian, Velikosvetskie obedy, p. 314) [full resolution image]

Image 350

People watching fireworks on the banks of a river, most likely the Neva

Fireworks upper right; spectators standing on the embankment and lying on the shore, front left; boats on the water illuminated by the fireworks
The source of this image is uncertain. Specialists from the engravings department of the State Russian Museum, St. Petersburg, note the similarities between this and an engraving by Khelmitskii from an original drawing by G. Brolling of a festive scene on Elagin Island, published in Neva in 1892, and suggest that this may be by the same artist and from the same publication. “Both [Khelmitskii and Brolling] are little-known staff artists of the magazine” (Andrew Gangan, State Russian Museum, St. Petersburg, 27 December 2021).
[full resolution image]

Image 351

James and Willie sometimes went unaccompanied on the omnibus to Alexandrofsky

omnibus with four horses in tandem, completely laoded with passengers inside and on top, in from of a square of buildings
Omnibus. Panorama of the Nevskii Prospekt. 1835. Lithograph from a drawing by V. Sadovnikov. [full resolution image]

Image 352

When Major Whistler used the family carriage, the remaining family members hired a drozhki.

Two horses, one head down, one up, pulling a four-wheeled cart with a driver and one passenger, both with tall hats
Aleksandr Orlovskii (1777–1832). A City Droshki. 1820. Lithograph. 44.6 x 55.7 cm. State Russian Museum, St. Petersburg. [full resolution image]

Image 353

See detail of a sentry box with a sentry on duty on the right. In the 1840s, he no longer carried a halberd.

Two horses, heads both down and straining, with large arched harness, pulling a sleigh quickly; driver and one passenger wrapped completely in furs with a tall, expensive-looking hat
Aleksandr Orlovskii (1777–1832). A Sledge Harnessed to a Pair of Horses. 1820. Lithograph. 44.5 x 56.3 cm. State Russian Museum. St. Petersburg. [full resolution image]

Image 354

The passenger in a kibitka reclined rather than sitting up, as Joseph Harrison Jr. discovered when he had to use one.

three horses in parallel, the centre with a large arched harness, puling an enclosed sleigh with passenger; driver sitting in the open
Aleksandr Orlovskii (1777–1832). Traveler in a Kibitka Harnessed to a Troika of Horses. 1819. Lithograph. 39.5×57.3 cm. State Russian Museum, St. Petersburg.
[full resolution image]

Image 355

This pasttime was known to Anna Whistler as “gee-joggle.” The image also contains the detail of the gable end of a peasant house, which she noted particularly.

tow women in peasant dress bouncing on a board, one down, one in the air, with men sitting watching and chatting outside a log house
Aleksandr Orlovskii (1777–1832). Jumping on a Board. 1827. Lithograph. 30 x 38 cm. National Museum of Poland, Warsaw. [full resolution image]

Image 356

Game of knucklebones (babki), which Anna Whistler saw peasant boys playing

two young boys throughout tokens into a cleared space while three others and a dog look on from right; two other children look on from left, over a fence
Game of Knucklebones. Lithograph after an original by Aleksandr Orlovskii (1777–1832). 36 x 48 cm. State Russian Museum, St. Petersburg (Gr–19389). (Petrova, Play and Passion, p. 107) [full resolution image]

Image 357

The English name for the game called “svaika” is “nail into the ring.” It is depicted in a sculpture outside the Alexander Palace, which Anna Whistler visited.

one man in red throwing down a spike towards a ring on a strip of dirt in the grass; three men in blue watch; all have white leggings bound with crossed laces
Svajka. A Favorite Game of the Moujiks. 1833. Hand-colored engraving. Reproduced from Robert Pinkerton, Russia; or, Miscellaneous Observations on the Past and Present State of That Country and Its Inhabitants (London: Seeley & Sons, 1833), facing p. 295.
[full resolution image]

Image 358

A restaurant catering to the general public

People gathered at standing tables on left and sitting at tables on right; servers in centre; chandelier hanging centre; paintings on walls
Victor Adam (1801–1866). Café Restaurant in St. Petersburg. c. 1830. Lithograph from a drawing by Heinrich Mitreiter. State Museum of the History of St. Petersburg.
[full resolution image]

Image 359

The samovar was a vital part of all Russians’ and foreigners’ everyday life in St. Petersburg.

urn on a stand, with two handles on the dies and a spigot on front, with a burner on top
Brass samovar, created by “F.P.” 1840s. 36 x 32 x 30 cm. Engraved on the base: “Ф. П. ГРМ” [“F. P. In GRM”]. (I.L. Zakharova, Russkie samovaryRussian Samovars [Leningrad: Khudozhnik RSFSR, 1971], plate 69, p. 171) [full resolution image]

Image 360

Like most St. Petersburg inhabitants, Anna Whistler did not buy fruit in winter, as it was excessively priced

shop with shelves full on three sides; woman sitting on left with two children, being served by shop attendant; merchant selling fruit to gentleman on right
Petersburg. Fruit Shop. 1858. Xylograph taken from Zhivopisnaia Russkaia biblioteka [Picturesque Russian Library]. (Lotman and Pogosian, Velikosvetskie obedy, p. 221)
[full resolution image]

Image 361

A Russian public bath house. Anna Whistler used the private bath house on old Mr. Drury’s estate on the Peterhof Road in the summer of 1844.

woman centre pouring bucket of water over herself; woman to  right switching herself with a birch want; back of woman to left; woman with child in lap spitting from centre; other female figures behind; all figures without clothes
Geoffroy. The Russian Baths. 1845. Engraving after P.Iw. [Ivanov?]. (Anthony G. Cross, “The Russian Banya in the Descriptions of Foreign Travellers and in the Depictions of Foreign and Russian Artists,” Oxford Slavonic Papers, n.s., 24 [1991], p. 57) [full resolution image]

Image 362

The St. Petersburg dvornik (outdoor–indoor man), a feature of every house

man in long, simple tunic and high boots, with an apron wrapped around his hips, points upwards to the left, speaking to a man in police r military garb; two children stand in the background to the right, one to the left
Ignatii Stepanovich Shchedrovskii (1815–1870). Petersburg dvornik. 1839. Lithograph. State Russian Museum, St. Petersburg. [full resolution image]

Image 363

Anna Whistler engaged a wet nurse when John Bouttatz Whistler was born in 1845.

Woman with bare breast holds sitting child on the table in from of her; she is wearing a dangling earrings, a blue stone bead necklace, and a cylindrical hat with embroidered trim
Aleksei Venetsianov (1780–1847). Wet Nurse with a Child. Early 1830s. Oil on canvas. 66.7 x 53 cm (26.2 x 20.8 in). State Tret’iakov Gallery, Moscow. [full resolution image]

Image 364

Front cover of the custom cloth box containing the 24 hand-colored lithograph cards included in the 1834 collection Sobranie risunkov izobrazhaiushchikh raznoshchikov v S. Peterburge – Cris de St. Pétersbourg.

Old book cover: yellow paper with green edging
Custom cloth box. 12.5x9.5 cm (5x3¾”) original green glazed board slipcase with printed paper label on one side and an engraved illustration on the reverse. From the set Sobranie risunkov izobrazhaiushchikh raznoshchikov v S. PeterburgeCris de St. Pétersbourg. Collection de petits dessins à l’usage de la jeunesse, dessinés & colorés dans l’establissment de Charles Beggrow [The Cries of St. Petersburg: A Collection of Small Drawings for the Use of Children, Designed and Colored in the Workshop of Charles Beggrow [Karl Beggrov (1799–1875)]. Sold at auction (with contents) by PBA Galleries, 6 November 2014.
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Image 365

“Kazan shoes” are boots of soft leather without demarcation of a sole and heel.

She salesman with a basket of colourful shoes, and boots draped over his arms and back
Kazan shoes. Seller of Kazan boots and slippers. 1834. Hand-colored lithograph card. 5 x 3¾ in. (12.5 x 9.5 cm). From the set Sobranie risunkov izobrazhaiushchikh raznoshchikov v S. PeterburgeCris de St. Pétersbourg. [full resolution image]

Image 366

From her European travels in 1846, Sarah (Poulterer) Harrison brought Anna Whistler an elaborate pelerine cape to thank her for taking care of baby Alicia McNeill Harrison.

Miss Etta Estabrook in a spotted gown with a full lace pelerine cape, that reaches to her mid-upper arms, and has a collar that buttons beneath a ribbon band, pinned with a broach at her neck
Miss Etta Estabrook. Daguerreotype. c. 1845. (Severa, Dressed for the Photographer, p. 55) [full resolution image]

Image 367

Anna Whistler had a broach made for Mary Brennan from the hair of John Bouttatz Whistler as a memorial after he died in October 1846.

artfully arranged locks of hair: one blond, one brunette, one auburn, under glass in a metal setting on a pin
The Victorian Art of Hair Jewelry with Art Historian and Master Jeweler Karen Bachman. Observatory, Brooklyn NY. Course advertisement, 13 January 2013, accessed 5 October 2021.

Image 368

Major Whistler bought a screw-cushion for Anna Whistler on one of his trips within Russia.

pin cushion above a decorative, silver metal screw-clamp
Pincushion and Workholder. c. 1800. Cut steel. Manufactured in Birmingham, England. Victoria and Albert Museum, London (metalwork collection 540-1903).
[full resolution image]

Image 369

The Life Guards Cavalry Regiment praying in the manège in St. Petersburg in the presence of Emperor Nicholas I

The Horse Guard to the right, all facing a crowd on the left; military figures front left
Celebrating the 50th Anniversary of the Appointment of Emperor Nicholas I as Chief of the Cavalry Regiment at the Mikhailovsky Manege. 1849. Oil on canvas. 56 x 88 cm. State Museum of the History of St. Petersburg (I-A-235-g); previously in the collection of the Life Guards Cavalry Regiment; a gift to the regiment in 1849 according to the will of the Grand Duke Mikhail Pavlovich. [full resolution image]

Image 370

Members of the Cavalier (Imperial Household) Guard, of which Empress Aleksandra Fyodorovna was head. In English, the Cavalier Guard is called the Horse Guard.

four soldiers; three in white uniforms with black boots, and an eagle on their hats; one in a dark military jacket, white breeches and boots, and a plumed hat
The Cavalier (Imperial Household) Guard in the Reign of Nicholas I (Panchulidzev, Istoriia Kavalergardov, vol. 4, facing page 140) [full resolution image]

Image 371

Pages of Nicholas I, who is purported to have offered to educate James and Willie in his Corps of Pages after Major Whistler’s death

Page boys sitting on a bench and standing next to two older men, right; three guards with beaver-pelt hats and bayonets to left
Carl Piratskii (c. 1814–1871). The Court Grenediers and Pages in the Military Gallery of the Winter Palace (detail). 1848. State Russian Museum, St. Petersburg. [full resolution image]

Image 372

Ladies-in-waiting to Empress Aleksandra Fyodorovna

four ladies-in-waiting with elaborate gowns and headpieces
Adolphe Ladurner (1798–1856). Part of the White (Armorial) Hall in the Winter Palace (detail). 1838. Oil on canvas. 69 x 96 cm (full painting). State Hermitage Museum, St. Petersburg (ERZh-2436).

Image 373

Once a year, Nicholas I gave a masked ball at which the ladies could approach and speak with frankness to him.

central figures are the back of a man in black military uniform, a woman in a yellow dress facing us to the left of the man, and the back of two women in black, one far left, one right of the man; the women have half-face masks; the man has none
Adolphe Ladurner (1798–1856). The Masked Ball of Nicholas I. 1845. Oil on canvas. State Central Literary Museum, Moscow. [full resolution image]

Image 374

Mrs. Trouvellier described to Deborah Whistler that at midnight at a ball where all classes of society were admitted, one’s clothing could become quite dishevelled and torn.

a crowded room of revellers
“A Ball in the Assembly Hall of the Nobility” (Fradkina, Zal Dvorianskogo sobraniia)
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Images 375 through 382

The Russian Orthodox Church calendar “begins with the Birth of the Holy Virgin on September 8th old or Julian calendar, September 21st new or Gregorian calendar. This holy day corresponds closely to the date of the Jewish New Year which to the Hebrews signified a new beginning of their life. Similarly the early Church, which generally closely followed the Old Testament celebrations of the Hebrews, proclaimed the new Christian era with the birth of the Holy Virgin, Who was to be the Mother of Our Lord Jesus Christ, Who in turn by His birth, was to bring a new era into the world – the era of Christianity” (N.E. Mokhoff, ed. Holy Days of the Church: A Short Synopsis of Pascha and the Twelve Major Feasts and Fasts of the Orthodox Church [New York: Russian Orthodox Youth Committee, 2001], p. 1). The images of the icons shown here are presented according to the Russian Orthodox calendar year, starting with the birth of Mary and ending with her death.

The icons discussed represent those of the twelve major feast days of the Russian Orthodox Church that Anna Whistler had occasion to be present during the celebration of, evoking from her comments of approval, disapproval, interpretation, misunderstanding, and sometimes sheer ignorance.

Images are reprinted with permission from Mokhoff, Holy Days of the Church. In the twenty-first century, when Mokhoff’s book was published, the difference between Old and New Style became thirteen days.

Image 375

Icon of the immoveable feast day of the Birth of the Most Holy Mother of God, Mary, daughter of the elderly couple Joachim and Anna. Her birth signifies that “the great task of saving mankind from enslavement to sin as promised to the first man” (Mokhoff, p. 3) has begun. While living on the Peterhof Road in the summer of 1844, Anna Whistler, hearing of this feast day, the first in the Church calendar year, celebrated on 8/20 September, confused it with the Epiphany, celebrated on 2/14 February, and then dismissed it as probably having to do with the Virgin Mary.

Holy woman on bed, with two attendants centre, and a man, woman, and child to right
Nativity of the Holy Virgin (p. 2) [full resolution image]

Image 376

Icon of the moveable feast day in March of the Annunciation of the Most Holy Mother of God commemorates the announcement by the Angel Gabriel to the Blessed Virgin Mary of the conception of Jesus in her womb.

angel on left speaking to surprised woman on right
Annunciation (p. 6 [full resolution image]

Image 377

Icon of the immovable feast day the Nativity of Christ, celebrated on 25 December / 6 January and called Christmas. Anna Whistler recorded in December 1843 and December 1845 – January 1846 the Whistler family’s secular preparations for and celebration of Christmas.

woman reclined in centre, with various allegoric figures surrounding
The Nativity of Christ (p. 8) [full resolution image]

Image 378

Icon of the moveable feast day the Entry of Jesus into Jerusalem, called by Western Christians “Palm Sunday” and by Russian Orthodox Christians “Pussy Willow Sunday” as well, occurring on the Sunday before Easter. Anna Whistler described her, James, and Willie’s excursion with Major Bouttatz in the week before Palm Sunday of 1844 to buy trinkets associated with this feast day.

Christ on a donkey with disciples behind him to left, and the people of Jerusalem before him to the right; two young boys in white centre foreground; city behind right
Entrance of the Lord into Jerusalem (p. 16) [full resolution image]

Image 379

Icon of the moveable feast day the Resurrection of Our Lord (Easter Sunday), when Jesus, who had announced before his crucifixion that he would be resurrected three days later, emerged alive from his tomb. Anna Whistler, who attended the Easter service at the Roman Catholic Church of St. Catherine, Maiden and Martyr in 1844 with William Hooper Ropes, described the music, the service, and the activity there in extensive detail.

arched image; risen Jesus centre holding a cross; gold background; angel in each front corner, left and right
Easter (Pascha) – Resurrection of Our Lord (p. 20) [full resolution image]

Image 380

Icon of the moveable feast of the Pentacost (Descent of the Holy Spirit on the Apostles), also called “Trinity Sunday” by the Western and the Russian Orthodox Church, and popularly “Whitsunday,” occurring on the fiftieth day after Easter and the tenth day after the Ascension of Jesus. An important feast day in the Russian Orthodox Church, Pentacost marks the beginning of the spread of Christianity (Mokhoff, p. 25). Anna Whistler mentions having attended the English Church that Sunday and points out that the poorer classes do not understand the meaning of this great feast day and regard it as the first day of summer.

Christ centre bottom holding a shroud; Holy Spirit in the form of a woman above; disciples surrounding both, six on each side
Pentacost – Descent of the Holy Spirit on the Apostles (p. 24) [full resolution image]

Image 381

Icon of the Transfiguration of Our Lord, an immovable feast day in Russia, celebrated on 6/18 August, represents the moment on Mount Tabor when Jesus’ raiment and visage are transfigured and his future suffering and death are presaged (Mokhoff, p. 15). When the Whistlers were living on the Peterhof Road in 1844, Anna Whistler did not know the name of the religious holiday, but knew that it had its counterpart in the folk holiday called “the Blessing of the Apples.”

Christ standing centre top on a rock; three figures (saints) on the rocks below him, left, centre, right; two figures (saints) to his left and right
Transfiguration of Our Lord (p. 14) [full resolution image]

Image 382

Icon of the Dormition of the Most Holy Mother of God, also called “The Assumption,” an immovable feast day falling on 15/27 August, celebrates the death and apotheosis of the Virgin Mary, when she is taken into heaven by her son, Jesus (Mokhoff, pp. 27–29). When the Whistlers were living on the Peterhof Road in 1844, Anna Whistler responded to this event with skeptical sarcasm.

Mother of God lying across bottom centre; figures surround her; holy man (perhaps Christ) above holding a baby; a priests on each side of this figure
Dormition of the Ever-Holy Mother of God (p. 28) [full resolution image]