“Four Parts of the World: Asia on an Elephant, Europa on a Bull, Africa on a Lion, America on a Crocodile, on Their Usual Signs”: Personifications of Four Continents in 18th-century Russian Art

Chebakova Polina ORCID: 0000-0003-4614-6964 Assistant; Institute of History; St. Petersburg State University 199034, Russia, Saint Petersburg, Universitetskaya nab., 7-9 p.chebakova@spbu.ru Other publications by this author

The appearance of allegorical figures of four continents in Russian art of the late XVII – early XVIII centuries coincided with a keen interest in expanding the worldview, strengthening ties with other countries and strengthening the position of the Russian state in the international arena. Appearing sporadically at the end of the XVII century, these images, along with personifications of other geographical concepts, are widely used in the art of the first quarter of the XVIII century, penetrate into painting, graphics, decorative arts, decorations of triumphal arches erected on the occasion of celebrations. They were often mentioned by art historians: B.F. Borzin in the context of monumental painting of Peter the Great's time ^[1], E.A. Tyukhmeneva, who pointed out the spread of personifications of various geographical concepts, including the four parts of the world, in the decorations of the triumphal gate ^[2], A.A. Gorbunova, who considered the personification of Asia separately ^[3]. However, so far they have not been the subject of special research. The article by E.E. Agratina ^[4], in which they are considered in the most detail, is devoted mainly to the images of the four continents in Western European art in connection with their study in the works of J. Valeriani, and it was not the primary task to comprehensively consider this phenomenon in Russian art.

The purpose of the article is to summarize information about the appearance of personifications of the four continents in Russian art of the XVIII century in the Western European context of the allegorical representation of the geography of the world and the universe. Accordingly, the tasks were to describe their iconography and analyze their meaning in specific works of art, especially in cases where personifications of parts of the world appeared together with the personification of the country.

In Russian art since the end of the XV – beginning of the XVI century, as V.G. Podkovyrova points out, in icons and facial Apocalypses there were images of the four winds of the Apocalypse associated with the Cosmography of Kozma Indicoplov "in the form of naked men with pipes held in the hands of four angels" – as a reflection of the idea of the Earth's structure, according to which according to its four There are four peoples (or four winds) in the corners ^{[5, pp. 86, 88-92, 94]}. The familiar idea of a four-part world structure was logically combined later in secular art with European personifications of the four continents. Images of the four winds also appeared, albeit with a slightly different meaning – for example, in Monplaisir, in the corners of the canopy of the Main Hall (1718) ^{[1, pp. 66-67]}, the heads of the winds of the four seasons, Zephyr, Evra, Nota and Borea were placed. Such allegorical images also contained the idea of a universe.

The allegories of the four parts of the world, or the four continents, were among the personifications of cultural and geographical concepts common in European art, along with the allegories of the Earth (Cybele), states or historical regions, fortresses, cities, rivers. Their iconography was variable, but recognizable. Among the earliest works in which it is described is the "Iconology" of C. Ripa in 1593, as mentioned by E. E. Agratina ^{[4, p. 82]}. Subsequently, this edition was reprinted more than once, including with images.

Already at the end of the XVII century, an illustrated edition of "Geography in the form of a deck of cards" by J. Desmarais de Saint-Sorlin and S. della Bella was known in Russia. In the original composition, 48 countries were selected – 12 in each of the four cardinal directions (among the countries there was an image of Muscovy) ^{[6, p. 206]}. The maps of Demare and della Bella also contain royal images of the four parts of the world on chariots (GE, inv. No. OG-395766, OG-395767, OG-395772). As O.A. Belobrova revealed, Nikolai Spafari prepared a translation of this work (after 1667 – no later than 1675), which contains descriptions of maps, including images of parts of the world, with omissions to supplement the drawings, but they were not added ^{[6, pp. 207-208]}.

Later in Russian art, the main features of personifications were based on European iconography, but sometimes, in accordance with the variations possible in European art, individual attributes or animal symbols changed. As O. Lacombe de Presel (1756) sums up in his lexicon ^{[4, pp. 84-85]} and after him I. Akimov, who translated his dictionary into Russian (1763), "Asia is one of the four parts of the world. Her most notable signs are a camel, a censer and fragrant potions filled with vessels, which are supplied on her sides" ^{[7, p. 3]}; "America [...] appears for the most part with a bow in her hand, and behind her shoulders with a quiver filled with arrows; on her side is a lizard" ^{[7, p. 6-7]}; "Africa [...] is represented with an elephant standing on its side", "Africa is often also represented as a woman with elephant skin on her head instead of a headdress [...]; a lion stands at her feet" ^{[7, p. 18]}; "Europe is represented as Pallas in a helmet, holding a a scepter in one hand and a cornucopia in the other" ^{[7, pp. 108-109]}.

In the reissue of The Symbol and Emblemat, the first collection of emblematic images with mottos, translated into Russian, published by order of Peter I in Amsterdam (1705), N.M. Ambodik—Maksimovich (1788) cites the iconography of the "four main parts of the world" (including the cardinal directions, that is there are North, East, South and West), which were absent in the first edition. This part was written under the influence of information from the "Iconological Lexicon" of 1756, which also contains a description of the "le Brun" ceiling in the Palace of Versailles with four continents (as E.E. Agratina points out, the authors of these compositions were actually Sh. de Lafosse and G. Blanchard ^{[4, p. 85]}): "Asia is depicted as a wife clothed in blue clothes and a yellow robe, [...] sitting on a camel [...]; in one of her hands is a box with fragrant potions"; "America is represented in the image of a swarthy and fierce wife sitting on a turtle, [...] dressed in a yupka made of multicolored feathers"; "Africa is depicted as a Black woman, half naked, sitting on an elephant, overshadowed by a sunflower"; "Europe is depicted in the likeness of Pallas in a helmet, holding a scepter and a cornucopia, with a horse standing next to her" ^{[8, pp. LVII-LVII]}. These are verbal descriptions of images that appeared in Russian art before, and they served to explain the already well-known allegorical figures.

A.A. Gorbunova, in an article devoted to the allegory of Asia, based on the description of N. Chaev ^{[9, p. 35]}, noted that for the first time images of parts of the world appeared in Russia at the end of the XVII century, in the decoration of the unfinished Kolomna Palace of Alexei Mikhailovich, where "above the mansions of his Royal Majesty there were shields, in which Europe, Africa and Asia were written" ^{[3, p. 85]}.

They became more widespread in Peter the Great's time. Personifications of the four parts of the world were present in the form of theatrical characters in the drama of the first quarter of the XVIII century – in "The Kingdom of Peace", "The Triumph of the Orthodox World", "The Image of Victory", as well as in "The Play about the Reign of Cyrus" ^{[10, pp. 310-311]}.

A. Collart based on the original by M. de Vos. Europe. 1586?1591. Reismuseum, inv. № RP-P-BI-6063.
Source: © Rijksmuseum, Amsterdam.

 There are cases of direct copying of European iconography, for example, the "Map of the Hemispheres" created by "the care of Vasily Kiprianov" (1707, GIM, inv. No. AND III 25938), where images of parts of the world are placed in the corners. It was possible to establish that the Dutch engravings or copies from them served as an iconographic source for them (A. Kollart based on the originals of M. de Vosa, 1586-1591, Reismuseum, inv. No. RP-P-BI-6060 – No. RP-P-BI-6063). I. A. Osipov pointed out similar drawings of parts of the world in the design of the maps "Image of the Earth Circle", or "Orbis Terrarum Typus", by P. Plancius (1594) and N. Piscator (1650s) ^{[11, p. 21]}. The personification of America is represented half–naked, sitting on a lizard, Europe – sitting in a fashionable dress, with a crown and a scepter, Asia – in oriental attire, riding a camel, with a censer in her hand, Africa - half-naked and sitting on a crocodile.

A. Collart based on the original by M. de Vos. Asia. 1586?1591. Reismuseum, inv. № RP-P-BI-6061.
Source: © Rijksmuseum, Amsterdam.

 The appearance of personifications of the four parts of the world, created by analogy with European models, in monumental painting also belongs to this period. They can be seen on oval images on the walls of the Green Study of the Summer Palace of Peter the Great (1713-1714) – according to B.F. Borzin, as a sign of the desire to maintain trade and cultural ties ^{[1, pp. 105-107]}. The image of Europe in the form of a woman in a crown, with a cornucopia, is available on an engraving that B.F. Borzin attributed to A. Zubov (beginning of the XVIII century, the State Museum of Fine Arts), mentioning it as an analogy to the uncorrected allegories of the four continents in the decoration of monumental paintings of temporary structures – the triumphal gates ^{[1, pp. 155, 159, 203]}.

Personifications of parts of the world have also appeared as illustrations for scientific literature. The translation of Johann Huebner's book "Amphibious Circle brief description" in 1719 ^[12] contains four illustrations at the beginning of each section. The title "Europa description" is an image of a seated young woman in rich clothes, wearing a crown and holding a scepter, with a model of a temple in her hand and a horse on the background, with attributes of sciences and arts. The engraving is inscribed with the inscription "This is the three parts of the wisdom of the queen: In courage in strength as in the stars of the day." In the "Materials for the Bibliography of Russian Illustrated Publications" of 1910, this figure was defined as an allegorical figure of Christianity ^{[13, pp. 27-28]}. On the title of "America description" there is a semi-naked allegorical figure with loose hair, in a headdress and a skirt made of feathers, over which a servant holds an umbrella (the image is accompanied by the inscription "What benefits this multitude of wealth: when there is no wisdom of decency", which is a reminiscence of the instructive words from the alphabet of K. Istomin ^{[14, p. 67]}). The titles dedicated to Asia ^{[3, p. 89]} and Africa do not contain the usual female personifications, but represent genre scenes with merchants. Images of three continents (Europe, Asia, Africa) ^{[15, p. 93]} in crowns and with scepters are also present on the frontispiece engraved by A.F. Zubov of the publication "The Book of Sistema, or the State Muhammadan Religion" by D.K. Cantemir in 1722 (RNB, inv. No. 540, RNB cipher: P-715).

These personifications were also in demand on solemn state holidays and ceremonies. The sculptural allegorical figure of Europe, together with the personification of Russia, mourned the death of Peter I in his "Castrum Doloris" and remained imprinted on an engraving by A.I. Rostovtsev based on a drawing by M. G. Zemtsov ("Funeral Hall" of Peter I in the Winter Palace, 1725, Archive of the St. Petersburg Institute of History of the Russian Academy of Sciences ^{[16, p. 281]}): "the first of these statues [...] shows Russia crying," "on the left side it forms Europe, lamenting the deprivation of the August Monarch" ^{[17, p. 5]}.

The personifications of parts of the world, widespread in Peter's time, remained in demand after the death of Peter I. Most often they corresponded to Western European iconography. The masters of the St. Petersburg Tapestry Manufactory in the 1730s and 40s repeatedly created a series of tapestries with images of the four parts of the world ^{[18, pp. 45-46; 3, pp. 87; 19, pp. 36-49; 4, p. 89]}.

Such images were in demand in the art of the triumphal gate. Personifications of Europe and Asia were present at the triumphal gates created for the coronation of Peter II ^{[2, pp. 129, 131-132]}. Sometimes the compositions were repeated in monumental painting. Allegories of the four parts of the world were depicted on the triumphal gates to the coronation of Catherine I (1724): "The four parts of the world, Europe, Asia, Africa, America, sitting at the globe, of which Europe is merrily praised, having on its person the monogram of Her Imperial Majesty name, inscription: I like everyone better" ^{[2, p. 231]}. The program of the triumphal gates for the coronation of Catherine I was repeated in 1742 ^{[2, p. 31]}. According to the description of the coronation of Elizabeth Petrovna, four parts of the world were depicted on the Triumphal Gate from the Moscow merchants in the Earthen City on Myasnitskaya Street in one of the paintings on the left side "from the entrance of the front facade" of the triumphal gate ^{[2, p. 108]}. Moreover, an intentional visual reference to the four kingdoms within the Russian Empire was created: symmetrically to the picture with four continents on the right side on the facade of the gate, four kingdoms were depicted, bringing a map of the lands of the Russian state to the name of the Empress, as in 1724. It is noteworthy that at the beginning of the XVIII century, 3 kingdoms within the Russian Empire in the publication "Geography or a brief description of the earthly circle" (1716) were described as one of the six parts of Asia: "This part of Asia, divided into six parts and [some] of them the first under the authority of the great sovereigns and tsars of Moscow, Like kingdoms: Kazan, Astrakhan, and the lands between the Don and the Volga, as well as the great and green vast kingdom of Siberia, which reaches the most glorious walls of the state of China" ("Geography or a brief description of the earthly circle" (M., 1716), pp. 58-59). E.B. Dedova, speaking about the fireworks of 1755, notes that The allegorical figures of the four kingdoms are a kind of "local arrangement" of the motif with personifications of the four parts of the world ^{[20, p. 92]}. The description of the triumphal gate on Myasnitskaya Street repeats the formula of 1724: "The four parts of the world, Europe, Asia, Africa, America, sitting at the globe, of which Europe, having the monogram of Her Imperial Majesty, has a particularly cheerful appearance. The inscription: I like everyone better" ^{[21, p. 144]}. The painting "with the person of Her Imperial Majesty" crowned the composition of the triumphal gates, and thus the relationship of the rhyming paintings was clearly shown on the main facade: on the one hand, four continents showed reverence for the Empress, on the other hand, four kingdoms within the Russian Empire worshipped her name.

Personifications of parts of the world appeared not only in allegorical compositions in various types of art. Traditional attributes of personifications were also used for a costumed portrait ^{[22, pp. 156-157]}. Among the 11 pastel allegorical portraits of J.F. de Samois from a series of images of ladies-in-waiting and stateswomen from the staff of Peter Fedorovich there are portraits of girls in the form of Europe, Asia ^{[23, pp. 128-129]} and America (1756, GMZ Peterhof). In these portraits, the girls are depicted with recognizable attributes of allegories of the continents: Europe (Maria Pavlovna Naryshkina) – in a serf crown and with a cornucopia, America (Matryona Gerasimovna Teplova) – in a dress and headdress decorated with colorful feathers, with a quiver on her back, Asia (Maria Yakovlevna Gruzinskaya) – with an incense burner in her hand, in a rich dress and a tiara with a veil and an aigrette.

The personifications of parts of the world in Russian art have always appealed to the glory of the Russian Empire, to its importance on the world stage. At the same time, it did not matter whether they appeared together with the personification of Russia (or its ruler) or without them. The personifications of the four parts of the world represented a symbol of the universe and were supposed to show universal admiration and willingness to welcome the Russian state. In the "Glorious Triumph of the Liberator of Livonia" by Joseph Turoboisky (1704) – a description of the triumphal gates in Moscow – it is said about this: "the right picture of the gate country contains a Vesta (which in ancient times was the beginning of the earth, about the four countries of the earth, that is, Asia, Europe, Africa, America), crowns, signs, honors acceptable. We also see Russia under the guise of it," which received "greetings", "glorification of celebrations" and "surprise" from other states ^{[15, pp. 166-167]}. Personifications of parts of the world acted in the role of welcoming donors, and their symbols (elephant, bull, lion, crocodile) were called "ordinary", that is, they should have been known to an educated viewer: "this is the Russian West [...], four parts of the world are around it: Asia on an elephant, Europe on a bull, Africa on the lion, America on the crocodile, on their usual signs, they bring crowns, signs of greeting, power and grace of God" ^{[15, pp. 166-167]}. It is noteworthy that subsequently these "ordinary" animal symbols could be replaced by others. Most often, the elephant was associated with Africa, the camel with Asia. With Europe, in addition to the bull, a horse could be depicted. Africa and America could be depicted with certain lizards, which is why they are not always easy to distinguish from each other. E.E. Agratina noted such a trend in European art ^{[4, pp. 86, 92]}. The correspondence of attributes and the difference of figures was secondary, the very idea of a four-part universe was primary. At the beginning of the XVIII century, the idea of worshiping Peter I of the whole world in the face of the four parts of the world could even be expressed, which had the character of a "panegyric hyperbole" and was a benevolent formula: "Helping him to destroy his enemies, / Africa, America, Asia, happened / With Europe, may the power be one, / Tsar Peter the Stone and glory be one" (John Maximovich, "The alphabet is assembled, rhymed, from the holy scriptures, ancient sayings...", 1705) ^{[15, pp. 54-56]}. In the play "The Liberation of Livonia and Ingermanland" (1705), Fortune promises all four sides of the world to the Jealousy of Ross, that is, to Peter I: "all four parts are given to her by the lights, promises and their very bestowals" ^{[24, p. 102]}.

The idea of the triumph of the Russian Empire, which is observed by four parts of the world, was continued in the future, after the time of Peter the Great. The panegyric "The Image of the Russian Triumph" (1742) presented "Russia on a solemn chariot. Europe and Asia have bowed their heads under her hands, extend their voice to Africa and America," thus showing their desire to serve her ^{[10, pp. 311-312]}. M. P. Odessky, focusing on the personification of America, provides information about the allegories of the four continents in Russian drama and odic poetry of the early– mid 18th century, including M. V. Lomonosov ^{[10, pp. 310-317]}. E. E. Agratina followed E. B. Dedovoy ^{[20, p. 186]} notes that the personifications of the four continents in the fireworks of the Elizabethan period showed the personifications of the Russian Empire their admiration and respect ^{[4, p. 89]}. So, at the New Year's fireworks display in 1756, the greatness of Russia was observed, in addition to the personifications of its lands, personified continents, that is, the whole world and all mankind ^{[20, pp. 185-187]}: "in this case, the four parts of the world showing on both sides of the TEMPLE, look with surprise and reverence at this TEMPLE and at the one standing before They represent RUSSIA, namely: on one side, EUROPE is sitting on a white calf in a cheerful image expressing its desire to win friendship from Russia. ASIA, not bowing down, brings its treasures to the East: on the other side, AMERICA, standing on one knee with her face half open, AFRICA showing a look of great surprise" (Ya.Ya. Stehlin, "Description and explanation of the entertainment fireworks... in expression of the most sincere congratulations on entering the New Year, he was burned in front of the new Winter Imperial House in St. Petersburg on the first evening of 1756", 1756). In the engraving, the location of the personifications is actually different: to the left of the center, Africa is depicted with a lizard (crocodile?) and Europe on a calf, with a temple in her hand, on the right – Asia with a camel and a censer, and America in a headdress and a skirt made of feathers, with a bow and a hard-to-distinguish animal.

In the second half of the XVIII century, the personifications of the four cardinal directions continued to be used, but sporadically. The iconography could change. At the New Year's fireworks display in 1759, in the fifth phenomenon depicted on the engraving, parts of the world were represented as small children, not adult women, and without animal symbols, and Europe was depicted as a boy in a modern court costume. In the fireworks, four continents accompanied an allegorical figure of emotion, which, apparently, they were supposed to experience ^{[25, p. 902]}: "Surprise with four children who represent four parts of the world in different attire" ("Allegorical image of fireworks... in the new year 1759, presented before the Imperial Winter House", 1759). Together with the Victory, they were part of the entourage of the personification of Russia, solemnly carrying out two shields – a coat of arms and a monogram, with the name of the Empress. This version of iconography was probably borrowed from Western European art, where images of four continents existed in childhood. These are the engraved title pages "Cybele and Geography next to the globe with personifications of the four continents" by Lawrence Sherm from the atlas of 1706, Rijksmuseum (title page of the edition: Frederik de Wit, Atlas Maior, Amsterdam, 1706), and "Allegorical scene with Neptune and personification in the city crown" from the atlas of 1749, Rijksmuseum (title page of the publication: Jean Rousset de Missy, Nouvel atlas geographique & historique, 1749).

Sherm L. Title page of the publication: Frederik de Wit, Atlas Maior, Amsterdam, 1706. Reismuseum, inv. № RP-P-1982-1465. Source: © Rijksmuseum, Amsterdam.

The most impressive monumental work visualizing this idea is the central composition of the ceiling of the Great Hall of the Tsarskoye Selo Palace by J. Valeriani "The Triumph of Russia" (or "Allegory of the Bliss of the Reign of Empress Elizabeth Petrovna", 1753-1755 ^{[26, p. 117]}). The plan of the ceiling suggests the admiration of four continents (and different peoples of the world, represented next to them on the balconies ^{[27, pp. 339, 343]}) for the personification of Russia or its ruler. Valeriani was well aware of the iconography of the four continents: his sketch depicting Apollo on a chariot and allegories of the four parts of the world (1750) is known, created by him, according to E.E. Agratina, in accordance with Western European iconography for a plafond or theatrical machine ^{[4, pp. 90-94]}. The central part of the ceiling, replaced in the middle of the XIX century by a copy of F. Wunderlich and E. Franchuoli, died during the Great Patriotic War and during the restoration of the Tsarskoye Selo Palace was recreated by a team of restoration artists led by Ya.A. Kazakov ^{[26, pp. 126-127, 132-133]}, including on the basis of the description of the ceiling ^{[28, pp. 56-67]}, compiled by J. Valeriani and A. Benois cited in the book "Tsarskoye Selo in the reign of Elizabeth Petrovna": "In the center. Russia, sitting in the middle of shields with the coats of arms of the Kingdoms and Provinces of her Empire" ^{[29, pp. 21-22, pp. 104-105]} (or "state and provincial coats of arms of the Empire" ^{[26, p. 119]}); at the same time, "allegories of the four parts of the world were depicted in niches of four corners, testifying their just admiration for heroic Valor Her Imperial Majesty" ^{[29, pp. 21-22, pp. 104-105]}.

Parts of the world can pay their respects to Russia alone. On the inside of the lid of a multi-colored painted snuffbox (1760s, IFZ ^{[30, p. 62]}), presumably, the personification of Europe, depicted in a crown and with a horse, gives an olive branch to Catherine II in the image of Pallas, testifying to her good intentions. In European art, there are also compositions that demonstrate reverence for the four parts of the world to the personification of the country or its ruler – for example, this is the engraving "Personification of the Republic of the Seven United Lower Lands surrounded by allegorical figures" (Bernard Picard, 1722, frontispiece of the book "Histoire des Provinces-Unies des Pays-Bas" (J. Le Clerc, 1723), Rijksmuseum, inv. RP-P-OB-51.557), where the allegories of Africa, Asia and America approach with gifts the personification of Europe with a cornucopia sitting at the feet of the allegory of the Netherlands. It is also a marble relief for the meeting room of the East India Company building "Britain with gifts of the East" (J. M. Risbrak, 1729-1730, British Library), on which three women approach the seated Britain - India (representing Asia), Africa and the Middle East, and India presents her with a casket with gifts ^{[31, p. 33-34]}. Allegorical portrait of Charles II of Spain (Romaine de Hoge, 1690-1700, Rijksmuseum, inv. RP-P-1885-A-9011) contains male personifications of Africa and Asia, carrying a cornucopia, and a personification of America, offering gifts to the king. These are not iconographic sources for specific works, but parallels. But the abundance of such allegorical compositions indicates that such a variant of iconography was stable and could be known in Russia.

In the 18th century, visual and verbal arts were interconnected and influenced each other. The iconography of the personifications of the parts of the world could influence their descriptions in literature, where they also appeared in anthropomorphic guise. Thus, in G.R. Derzhavin's ode "On the absence of her Majesty to Belarus" (1780), glorifying Catherine II, a personified Europe appears with a hint of the iconography of an allegorical figure of a part of the world bringing gifts to the ruler: "And, stretching out Europe, / May you, in place of tribute, / Bring gratitude" ^{[32, pp. 95-101]}. Here, the personification of a part of the world is used in the same way as in the visual arts: rejoicing, worshipping, bringing tribute or gifts, the personification of a part of the world was supposed to signify the greatness of the country in the person of its ruler.

M. D. Chulkov's collection "Mockingbird, or Slavonian Tales" (1784) provides a verbal description of these allegories (as well as personifications of the four cardinal directions) as parts of the magical world of the island of Aropa, which were created under the influence of their iconography in art: "important and noble Europe sat on cannons; on her head was a shiny helmet decorated with white feathers, in a golden cuirass [...]. In one hand she held a scepter, and in the other a cornucopia; on the side was not a bridled horse, and on the other lay books, banners, helmets and shields"; on her side stood "proud and stern Asia, on her head a white turban with yellow stripes, trimmed in places with heron feathers, a blue dress, over which a yellow epancha; in one hand she held a vessel with fragrant potions, and into another shield with the incoming moon. Kettledrums, drums, sabres, bows and arrows lay in front of her, and a camel stood on her side." In front of Europe stood "black Africa: a sunflower was visible above it, which made it seem all in shadow. She was naked to the waist, she had pearl armbands on her hands and one large pearl in each ear. In her right hand she held a Scorpion, and in her left a cornucopia; a small elephant was visible next to her." Asia was followed in this imaginary picture by "swarthy and ferocious America; her head was covered with colorful feathers like a wreath, and only one belt of the same feathers covered her to her knees; she was armed with a bow and arrows; a lizard was visible next to her" (M.D. Chulkov. "Mockingbird, or Slavonian tales" (Part 3., Moscow, 1784), Chapter III, "Evening 33. Continuation of the adventures of Alim and Askliada", pp. 33-34). E. M. Dzyuba notes that M. D. Chulkov described in detail the magical spaces with allegories in his work, being impressed by the palaces and parks of the Catherine nobles he saw ^{[33, p. 149]}. He could focus on pictorial images, theatrical performances and, according to our assumption, on iconological lexicons (he himself was the author of the "Brief Mythological Lexicon" of 1767). His description of the personifications of the four parts of the world at the chariot of Apollo in many details converges with the descriptions of the four continents depicted by "le Brun" in the Palace of Versailles from the "Iconological Lexicon" by O. Lacombe de Presel ^{[7, p. 3]} and looks like a creative quotation of what he read in the lexicon: "Le Brun depicted her [America] in in the form of a swarthy and ferocious woman sitting on a turtle, holding a dart in one hand and a bow in the other; on her head she has a headdress of multicolored feathers and such a yupka hanging from the waist to the knees" ^{[7, pp. 6-7]}; "Le Brun in the royal chambers in Versailles depicted Europe as sitting on the guns of a woman, to whom the view shows something great, noble and merciful; on her head is a helmet decorated with large white feathers. Instead of a robe, she wears a golden cuirass" ^{[7, pp. 108-109]}; "on her head [Asia] has a white chelma with yellow stripes, decorated with heron feathers" ^{[7, pp. 3-4]}; "a sunflower is visible above her [Africa], from which she is all in shadow. [...] Instead earrings [...] each with one large pearl, she has a rich armband on her hands" ^{[7, p. 18]}.

Presumably, personifications in the theater and theatrical festivals were also created by analogy with pictorial allegories. For example, according to the plot of the ballet "New Argonauts" by G. Angiolini (1770), the "sofa" of the Ottoman Porte, presented "in the image of a multi-headed hydra", held "Asia, Africa and Europe chained" (G. Angiolini, "New Argonauts: A pantomime-allegorical ballet presented at the Imperial Theater on September 24, 1770 ...", St. Petersburg, 1770). Personifications of the four continents remained relevant in the second half of the XVIII century and for festive celebrations. During the celebration of peace with the Ottoman Port in Vologda on July 10, 1775, during the procession, the choir first represented triumphant Russia ("first, the sign of triumphant Russia was carried, which depicted Russia in the middle in the image of a maiden standing under a canopy, [...] singing the Song of Moses, [...] with her right hand pouring incense [...], and with her left hand forming an indescribable joy" ^{[34, p. 532]}), and after that four seminarians marched, "forming the four parts of the world" ^{[35, p. 330]}: "dressed in a long white dress decorated with golden gas", four students held green branches in their hands decorated with flowers, "having wreaths on their heads and signs on their geographical parts" ^{[34, p. 533]}. The procession was accompanied by kant, including mentioning parts of the world: "Europe with the most joyful face / wonders and sings about this, / Asia weaves praiseworthy crowns in merriment, / And Africa splashes with her hands, / America shines with fun, / singing everything to Catherine" ^{[34, p. 586]}.

The panegyric theme of the four parts of the world in Russian art of the XVIII century is completed by their appearance in the sculptural decoration of the Admiralty — a grandiose ensemble summing up the previous century. Sitting figures of Europe (in a helmet, in antique robes, with a scepter and a cornucopia, by V.I. Demut–Malinovsky ^{[36, p. 36]}), Asia (in a turban and with an incense burner, with banners at their feet, by the author) were placed on high pedestals near the Nevsky Pavilions ^{[36, p. 34]} – S.S. Pimenov ^{[37, pp. 42-43]}), Africa (half–naked, with a bow and arrow in her hands, with a lion at her feet, author - A.A. Anisimov ^{[36, p. 37]}) and America (half-naked, muscular, with a feather headdress, bow, quiver, leaning with her right hand on the shaft, by S.S. Pimenov ^{[37, pp. 42-43]}). They were removed in 1860 ^{[36, p. 37]} and are known for reproduction in the album "Drawings and drawings of the building of the St. Petersburg Main Admiralty with all its parts, the structure being brought to completion, composed by the Imperial Academy of Arts, the oldest professor of architecture and the Chief Admiralty Architect, State Councilor Zakharov, most highly approved in 1806, collected and published by the Imperial Academy of Arts by Associate Professor of Architecture Gomzin and engineer-Lieutenant Colonel Deiriard" (1815, GIM, inv. No. IA 303/9). The sculpture program of the Admiralty also included personifications of the four winds – South, North, East and West, placed above the tower colonnade ^{[36, p. 33]}.

Personifications of the four parts of the world have become widespread since the time of Peter the Great, when Western European artistic experience was actively mastered in Russia. Throughout the XVIII century, artists focused on European patterns and lexicons. Since the second half of the 18th century, interest in these allegorical figures, as well as interest in the rich allegorical language of the Baroque, has gradually begun to fade, and they appear less frequently. In those cases when personifications of the four continents appeared in Russian art of the XVIII century, they, as theatrical characters were supposed to, showed a special set of emotional reactions. Gaiety, surprise, admiration, reverence – these are the emotions that were prescribed to be experienced by personifications of parts of the world in allegorical compositions. In the most significant surviving examples, they were present at the most important events for the country and were honorary spectators of the triumph of the Russian Empire and its powerful sovereign. The very presence of the four continents in the allegorical composition, even if they were not represented actively expressing their admiration, served the purpose of glorifying the ruler.