“He Descends on the Clouds; He Has a Golden Scepter in His Right Hand; a Two-Headed Eagle Hovers Above Him”: the Figure of the Genius of Russia in Russian Art of the Late 18th – First Quarter of the 19th Century

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

Personifications of states and territories are a common phenomenon in both European and Russian art of the XVIII — first quarter of the XIX century. Being an important part of the allegorical language, the figures of the four continents ^[1], states, regions, cities and fortresses served to reflect in art the idea of the state and events significant to it. The most common way to convey the idea of the state in Russian art of the XVIII — first quarter of the XIX century was the image of the personification of the country. Most often it was a female figure. The Russian Empire was usually depicted as a young woman with regalia (city or imperial crown, mantle) and a coat of arms ^[2]. One of the state personifications close to, but not identical to, the allegorical figure of Russia at the end of the XVIII — early XIX century was the Genius of Russia.

The figures of geniuses conveyed different meanings in the works of art and appeared in different guises. According to the English reprint of Cesare Ripa's Iconology of 1709 (first published in 1593), genius (genio, genius) is a spirit that serves to preserve any things, or denotes a penchant for something (teaching, music, military art); geniuses could accompany not only people, but also and some inanimate objects. In this edition, the genius is depicted as a naked putti in a wreath, with a bunch of grapes and ears of corn in his hands [Ripa C. Iconologia, or Moral emblems. London, 1709, p. 33-34]. There were various geniuses, including those who personified abstract concepts. One of the popular images was, for example, the Genius of the Arts or Painting. On an engraving by N. Le Mira based on the original Sh.-D.-J. Eisen's "The Genius of Painting disposes of the hanging of paintings" in 1756. Such a Genius is a winged, half—naked young man with a tongue of flame in his hair, with a palette and brushes in his hand. According to N.M. Ambodik-Maksimovich's "Emblems and Symbols" of 1788 (republication of "Symbols and Emblems" of 1705), "Drawing art is depicted as a Genius holding a drawing pen in his hand", "Carved art is meant by a Genius holding a hammer and chisel" [Ambodik-Maksimovich N. M. Emblems and symbols selected... St. Petersburg, 1788, "Iconological description of sciences and arts", p. XXIV].

In the Russian Empire of the XVIII century, European iconological dictionaries were studied and translated, in which figures of geniuses could be mentioned. According to the Russian translation of the "Iconological Lexicon" by O. Lacombe de Presel in 1756 (I. Akimov, 1763), "Geniuses [spirits good or evil], of whom the ancients thought that they guide people, help them in their birth, and have them in their preservation. Kingdoms, Provinces, Cities and Peoples also had their own special Geniuses, and nothing could be more peculiar to them than this inscription on the medals: Genius Populi Romani or Genio Populi Romani, Genius of the Roman People." The Russian Empire and its people also relied on their Genius or Guardian, a kind of good spirit, and his first images in Russian art could be created under the influence of the European iconography of the geniuses of the territories, which was very diverse.

There is a problem of identifying the geniuses of the territories, since their iconography varied from case to case and was similar to the iconography of other geniuses. As a rule, geniuses were represented as putti babies or winged youths with attributes common among other allegorical figures, for example: "Geniuses are represented as winged babies [...] with allegorical signs expressing Virtues, Passions, Art, etc. Geniuses are especially signified by a small flame visible above their heads", "The good genius is depicted on medals as a naked young man in a crown of flowers, with a cornucopia" [Lacombe de Presel O. Iconological lexicon, or a Guide to the knowledge of picturesque and carved arts, medals, prints, etc. with a description taken from various ancient and new poets / Translated from French by the Academy of Sciences translator Ivan Akimov. St. Petersburg, 1763, pp. 80-81]. This variable iconography extended to the geniuses of the countries: "France... sometimes he is depicted as a Genius or a baby, with a blue mantle hanging over his shoulders, with a lily in his hand" (Ill. 1) [Ambodik-Maksimovich N. M. Emblems and symbols selected ... St. Petersburg, 1788, "Iconological description of the most noble states", p. LXIV]. Sometimes such geniuses were depicted with a tongue of flame on their heads (for example, A. Talamon's engraving "The genius of the French awakens France sleeping on the ruins of the Bastille..." ("Epoque du 10, août 1792 : Le Génie des français réveille la France assoupie sur les ruins de la Bastille, et lui montre le roi qui sous l'emblême d'un serpent, est prêt à s'élancer sur elle"), 1792, National Library of France; M. Poisson's engraving "The genius of the French Republic reveals to the Convention a list of conspirators" ("Le génie de la France républicaine veillant sur la Convention découvre à ses membres la liste de tous les conjurés"), 179 4).

Fig. 1. J. Audran based on the original by P. Mignard. Engraved image of the ceiling of the Palace of Versailles "Apollo distributes awards, Minerva crowns the Genius of France." 1686-1689. Rijksmuseum, inv. No. RP-P-OB-56.711. Source: © Rijksmuseum, Amsterdam.

In the European art of the XVIII century, there were geniuses of countries that resembled other geniuses, but could be specially distinguished by images of coats of arms (Fig. 2), armorial shields (as in the engraved almanac "France, grateful for the abundance that heaven sent her... in 1694" ( "La France / en action de grace / de / l'abondance des biens / que le ciel luy a envoyez / pour / le soulagement de ses peupl[es] / en l'année 1694", P. Landry, 1695, National Library of France), which depicts the Genius of France about the personification of France in the form of a little boy with a coat of arms and a flaming sword, and in the engraving "The Triumph of the patriots or the fall of the aristocrats" ("Le Triomphe des patriotes ou la chute des aristocrats", 1790, National Library of France), in which the soaring Genius of France is depicted with a shield with lilies and a rooster on his head). The genius could also be distinguished by other attributes — for example, a standard with the names of cities (as in the engraved allegorical equestrian portrait of Louis XIV, King of France, G. Edelinka according to the original by S. Lebrun, 1677, Rijksmuseum, inv. № RP-P-OB-67.645). In some cases, the geniuses of the state could be distinguished by a cape with images of coats of arms and a heraldic symbol in radiance on the chest, as in an engraving depicting Louis XVI, to whom Minerva shows a portrait of Henry IV, supported by the Genius of France ("Cette ingénieuse Allégorie représente Louis XVI, saisi d'admiration au moment où Minerve montre à sa Majesté le Portrait de Henri IV, entouré d'un médaillon de laurier et soutenu par le Génie de la France", a copy of an unknown engraver with the pseudonym "Hiam" from an engraving by N. Le Mira based on the original by S. N. Cochin, 1774-1775, National Library of France).

Fig. 2. Sh.-N. Koshen (I), Sh.-N. Koshen (II) according to the original by N. Delobel. An allegorical scene with a portrait of Cardinal Andre-Hercule de Fleury ("The Reunification of Lorraine and France"). 1737. Rijksmuseum, inv. № RP-P-1893-A-17927. Source: © Rijksmuseum, Amsterdam.

In addition to babies and young men, the geniuses of the states could also be depicted as young girls. For example, this is the figure of the Genius of France on the engraved S. Lebrun medallion "Institution of the Royal Invalides Home in 1674" (Fig. 3), which I.P. Prokofiev used as a model for his relief "Institution of the Academy". According to the description of 1752, the engraving shows "The Genius of France in the form of a winged woman with a flash of fire on her head and a cornucopia next to her" ^{[3, pp. 23-24]}. It is noteworthy that in this case, the Genius is a young woman, which brings this figure closer to the female personification of the state. In the form of a girl in a magnificent dress, a plumed helmet and a shield with lilies, the Genius of France was depicted by L. R. Boke in the sketch of the costume for the tragedy "Roland" (1778, National Library of France, department of the Library-Museum of Opera). In European art, female figures of Geniuses appeared later — in the first quarter of the XIX century. An example is the image of the winged Genius of France in a knight's helmet, a half-ring over a tunic and with a banner shaft with state lilies in his hand on a sketch of a theatrical costume for the opera "Pharamond" ("Pharamond", lithograph by G. Engelman based on a drawing by I. Leconte, "Theatrical costume "Genius of France", sheet from the series "Recueil des costumes de tous les ouvrages dramatiques représentés avec succès sur les grand théâtres de Paris", 1825, GIM, inv. No. I-III-m 6528, No. GIM 19155/833sch). In caricatures, female figures also became geniuses of states. For example, these are the engravings "The Guardian of the state, discovered by the Genius of Britain, studies plans to weaken America" (J. Gilray, "The State Watchman discovered by the Genius of Britain studying plans for the Reduction of America", 1781), and "Napoleon Bonaparte (The Genius of France nurses her darling)" (J. Gilray Gilray, "The genius of France nursing her darling", 1804).

Fig. 3. K. O. Duflo, I. G. Ville based on the original by S. Lebrun and J. B. Masset. The ceiling of the Hall of Mirrors of the Palace of Versailles "Establishment of the Royal Invalides House in 1674". 1752. Rijksmuseum, inv. No. RP-P-OB-73.265. Source: © Rijksmuseum, Amsterdam.

In Russian art of the XVIII century, figures of geniuses were also not uncommon. Already in Peter's time, various "geniuses" appeared in the theater: for example, the Geniuses of the Apostle Peter in the play "The Kingdom of the World, previously ruined by idolatry, but by confession and preaching of the holy supreme Apostle Peter... packs of the Risen" in 1702 ^{[4, p. 17; 5, p. 198]} and the Genius of Mars of Russia in the play "The Triumph of the Orthodox World" in 1703 ^{[6, p. 77; 5, p. 205-206]}. They were also used in the visual arts. In the description of the triumphal gate dedicated to the Peace of Nishtadsky in 1721 (the Second Gate on the state of the world), four geniuses with different attributes are mentioned: "Even higher, the Genius is sorting out. Genius is playing bandura. The genius of the sphere or globe is measured by cyrkul. Genius holds a model of chambers. These four Geniuses mean peaceful crafts and care: Merchants, Musikia, Philosophy and Architecture" ^{[7, p. 230]}. It was also possible for the geniuses of the lands to appear — for example, in the school drama "The Terrible Image of the Second Coming of the Lord to the Earth" in 1702, Geniusz Polski is mentioned ^{[5, pp. 84-85, 479]}. In A.P. Sumarokov's ballet "The Refuge of Virtue" in 1759 ^{[8, p. 258]}, the Genius of Europe (Ivan Tatishchev), the Genius of Asia (Stepan Evstafiev), the Genius of Africa (Stepan Pisarenko) and the Genius of America (Grigory Pokas) are indicated as actors [Sumarokov A.P. The Refuge of Virtue: Ballet / Poetry and arrangement the dramas of G. Sumarokov. Music by G. Raupakh. Dancing and the foundation of the drama by G. Hilferding. Theatrical decorations by G. Perizinotti. St. Petersburg, 1764].

According to our assumption, such figures of geniuses, including the Genius of Russia, appeared in Russian art not only due to imported art samples, but also under the influence of descriptions in iconological dictionaries. So, for example, in the literary work of M.D. Chulkov "Mockingbird, or Slavonian tales" (edition of volumes I-IV — 1766-1768 ^{[9, p. 82]}, reprinted with additions — 1784-1789), in the part about the adventures of a Scammer, such a character appears as the Genius of a fictional city, "the winged youth": "Pecusis, or genius, the patron saint of the city of Khotyn with a joyful face, crowned with laurel and holding a myrtle branch in his hand" [Chulkov M.D. Mockingbird, or Slavenskiy fairy tales. Part 4. Moscow, 1784, p. 139; Mockingbird, or Slavenskiy tales. Part 5. M., 1789, pp. 54-55]. M.D. Chulkov characterizes him as follows: "a virtuous spirit, always concerned about the preservation of the mortal tribe entrusted to him," "constantly concerned about the welfare of the people." M.D. Chulkov was most likely well acquainted with contemporary iconological lexicons, since his descriptions of allegorical figures often overlap with those available in dictionaries. He also gives his character an explanation similar to that given in O. Lacombe de Presel's "Lexicon": "Geniuses are spirits good and evil; they accompany people, help them at their birth and have them under their protection. Each person dedicated a birthday to his Genius; wine, flowers and incense were sacrificed to them; moreover, it was forbidden to shed blood, and also to bring any animal to this sacrifice. Kingdoms, provinces, cities and peoples had their own special geniuses." Thus, in the second half of the XVIII century, people in Russia were already quite familiar with the figures of geniuses in art. The idea of geniuses-guardians of lands and cities has also taken root and integrated into the system of allegorical language.

The figure of the Genius of the Russian Empire became widespread in Russian art in the second half — the end of the XVIII century. One of the undoubted evidences of its existence in Russian art is the libretto of the ballet "New Argonauts" by G. Angiolini (September 24, 1770), dedicated to the Chesma victory.

According to the plot of the ballet, the Russian Genius accompanies the Russian Neptune, who marches on a flag-decorated boot: "Neptune with his trident, standing in proud joy at the stern, looks with benevolence at the victorious fleet: and the Russian Genius holds his Imperial Standard waving above the head." Then he gives Neptune crowns: "Neptune crowns Promak and with him the chiefs with a crown of sea winners, which Genius gives him." In the same description of the ballet, there is an exceptionally rare mention of the Geniuses of the Russian Kingdoms and Principalities ^{[8, p. 260; 10]}: "Liberated Christians, and the inhabitants of those places, Greeks and Greek women, who overthrew the yoke of a cruel tyrant, express their well-being by dancing. At this, Eternity appears on the clouds, surrounded by the Geniuses of the Kingdoms and Principalities of Russia, and writing in the book of immortality: The Glory of the Russian Fleet" [Angiolini G. New Argonauts : A pantomime-allegorical ballet presented at the Imperial Theater on September 24, 1770, on the occasion of the glorious victory won over the Ottoman fleet at the island of Chio / Invention and the composition of the ballet by G. Angiolini, the choreographer who is in the service of her Imperial Majesty. St. Petersburg, 1770]. Presumably, these images, like the image of the Genius of Russia, were created by analogy with the European iconography of the geniuses of the lands and could have distinctive attributes peculiar to the personifications of the territories of the Russian Empire, that is, the coat of arms of kingdoms and principalities. The iconography of the Genius of Russia is also not given in this brief description of the ballet, he was one of the supporting characters.

At the end of the XVIII — beginning of the XIX century, this image became in demand in the theater, in literature, and in the visual arts. The Russian genius is mentioned in the poem "The Battle of Chesmes" by M.M. Kheraskov in 1771 ^{[11, pp. 143-176, 168]}. In 1780, in the play "The Temple of Communion of Joy" in honor of the namesake of Catherine II ^{[8, p. 257]}, both The Genius of Russia, performed by actor Komaskino, and the "chorus of the Genius of the Russians" together with the "ballet of the inhabitants of the happy" appear. The "Geniuses of Russia" in the 3rd phenomenon sing the chorus: "Let's fill these places with the sound of our joy. Yes, it echoes everywhere. May our faces be heard agreeing to the very places where the sea washes the opposite shore." In the fourth phenomenon, the Genius of Russia, in the presence of Joy and Time, makes a speech: "To the common joy, O goddess! and I came to unite, and left the firmament to enjoy the sight and wonder at this August Monarch." Joy tells him: "Genius, guardian of this Power, make this great Name eternal and may it be adored by one in all corners of the earth." The genius of Russia, as a full-fledged theatrical character, experiences joyful emotions on stage: "Oh goddess! you see the admiration depicted on my face; you see that tears of joy flow from my eyes" [Brigonzi J. The Temple of Communion of Joy: A theatrical spectacle with music for the occasion of the solemn day of the namesake of her Imperial Majesty Catherine II, Empress of Russia on November 24, 1780. Translated by Z.A. Kryzhanovsky. St. Petersburg, 1780, pp. 5-8, 11]. In this case, one of the genius patrons of the state acted as an active actor, and the rest accompanied the performance in the form of a choir.

The genius of Russia, presumably, appeared along with the personifications of the territories of the empire ^[12] in the Russian Atlas of 1792. On the "Map of the Tula viceroyalty" (A. Wilbrecht, engraver Meshkov, St. Petersburg, 1792, RGB), the winged Genius of Russia in Roman armor and mantle, with a coat of arms, with a tongue of flame in curly hair, passes a bunch of fiery arrows into the hands of a naked blacksmith. N.P. Finyagina identified the figure as the archangel Michael ^{[13, p. 88]}; the presence of a coat of arms allows in this case to assume a combination of two images. The genius of Russia is mentioned in G.R. Derzhavin's poem on the death of Grand Duchess Olga Pavlovna (early 1795): "Hearts, souls / Half of it, / Genius of Russia, / Look at mine!" ^{[14, pp. 218-222]}. They are also mentioned (in the plural) in the description of the vignette to his ode "On the opening of the Kamennoostrovsky invalid House" (1778) in the author's manuscript of the works: "By the end: Peter Sowed first / The days of Russia are brilliant / Catherine squeezed (what she took) / They will put it in the granary. / Russian Geniuses, these fruits are carried to the temple of immortality." On the vignette itself, Russian Geniuses are depicted in the form of two winged babies ["The author's collection of works by G.R. Derzhavin", RNB, Department of Manuscripts, F.XIV.16, L. 11 vol., 199-199 vol.], which indicates the variability of the image.

The genius of Russia appeared on the frontispiece of the book "On the nobility, its origin, distribution and unequal introduction between almost all the peoples of the globe" (A. F. von Kotzebue, M., 1804). Here it is a soaring wingless figure in an antique tunic and helmet, with an armorial shield in his right hand and lightning bolts in his left. The explanation accompanying the frontispiece reads: "Nobility in the form of an old oak tree. A crowd of spoiled boys stole a hat from the Goddess of Liberty and decorated it with rattles. Another crowd brings an axe to an ancient venerable stump. The genius of Russia covers him in the clouds with his shield, on which the Russian eagle soars; lilies under his wings." This wingless figure could be mistaken for the personification of Russia, but there is no crown on the head of the Genius, although there is a coat of arms in his hands. In addition, the personification of the state was not depicted as floating. An example of such an image of the genius of the state in European art is the ceiling "The Genius of France, who breathed life into the arts, protects Humanity" by A.J. Gros (1827-1833, Louvre), on which the wingless Genius of France hovers with a torch, extending a shield over the allegorical figure of Humanity.

Sometimes the Genius of Russia can be recognized not by the coat of arms, but by the coat of arms animal: for example, in the drawing with the pen of I. P. Prokofiev, signed with the phrase "Russian genius brings tranquility and abundance to the sciences and arts" (1814, NIM RAKH, inv. No. R-1987), The Genius of Russia is represented as a beautiful half—naked young man in a raincoat, with an eagle at his feet. On the head of the winged Genius is a tongue of flame, in his right hand he holds a palm branch, in his left hand he holds a cornucopia. He is surrounded by allegorical figures welcoming his arrival. In two more drawings by I.P. Prokofiev from the collection of the Russian Museum on the same topic, the Genius of Russia, depicted schematically, is draped in a tunic. Most likely, in these cases, the Genius is a winged female figure, which is rare for the iconography of the Genius of Russia known to us at the moment. Due to the fact that the figures in I.P. Prokofiev's sketches were not always developed in detail ^{[15, p. 220]}, this cannot be stated with certainty. Probably, the artist, familiar with the variations of the iconography of geniuses, was looking for the most expressive image. One of the drawings indicates that this was "the program given to the Students of the Academy of Arts in 1814" ^{[3, pp. 79, 92]}. Apparently, the iconography of the Genius of Russia was affected by the semantic connection with the geniuses of sciences and arts. So, in the prologue "The Triumph of the Muses" of 1825, according to the plot, the Genius of Russia first leads the Muses to the "wild location and ruins of the temple", and then the temple "appears from the ruins" [Dmitriev M.A. The Triumph of the Muses. Prologue to the opening of the Imperial Moscow Theater / The work of M.A. Dmitriev. Music: a hymn with the chorus of A.N. Verstovskago belonging to it; the first and last chorus of A.A. Alyabiev. M., 1825, pp. 7-8]. This was how the restoration of the burned-down Moscow Bolshoi Theater was allegorically depicted. Here, the Genius of Russia also appears in the role of the Genius of the Arts or Apollo, surrounded by muses.

The genius of Russia often became a theatrical character in the first quarter of the XIX century — probably because of the many meanings that this figure could combine. In the prologue with choirs and ballets on the occasion of the opening of the Imperial Theater in Moscow, "Boyan, the Russian chanter of ancient times" in 1808, the Genius of Russia, performed by actress A.I. (?) Barancheeva, to the sound of thunder, "descends on clouds; in his right hand is a golden rod; a double-headed eagle soars above him; in his claws is flaming thunder, entwined with olives." It reads: "like you, and I don't care, Russia is a gentle mother. / Keeping her, I delight in her love, / And I connect with her with a feeling of the heart." The genius of Russia appears as the "Angel of the Russians", the majestic guardian of the country, which is sung by Boyan, describing it as a royal female allegorical figure: "Mother is gentle half the night! The Russian country; / to which power has been given from time immemorial, / The soul of strength and muscles to overcome everything in the world: / In what a brilliant porphyry I see you!" [Glinka S. N. Boyan, Russian chanter of ancient times. M., 1808]. The genius of Russia was probably not directly identified with the allegorical figure of the Russian Empire — it coexisted simultaneously with the personification of the country as another state personification and, if necessary, complemented the allegorical composition with shades of meaning. It is significant that one of the functions of the genius of the country was the glorification of the ruler (Fig. 4). So, at the end of the prologue "Boyan ..." in 1808, the Genius of Russia "takes thunder wrapped in olives from the claws of an eagle" to present it to the "King of the Rosses" (that is, Alexander I) with the words "the days are confused / [...] you have changed into rest, / and wrapped the thunders of death with olives."

Fig. 4. F.D. Her according to the original by J.-J. Le Barbier. Portrait of Peter the Great, supported by a genius. 1784. Rijksmuseum, inv. № RP-P-1950-29. Source: © Rijksmuseum, Amsterdam.

The genius of Russia, like the personification of the Russian Empire, could personify the state and act as a collective image of the country and the ruler, communicating directly with the personification of another country. Thus, the "allegorical-historical" ballet "The Triumph of Russia, or Russians in Paris" (1814) contained two state personifications, but only one of them was the usual female personification of the country: the main characters were "France, in the form of a woman", and "The Genius of Russia, in the form of a Slavic Knight", performed by actor G. Auguste. According to the plot of the play, the personification of France "in the form of a woman, in deplorable clothes, covered with a black veil, immersed in the greatest sadness, sheds tears over the urn in which the ashes of Ludovic XVI are kept." To sad music, Heavenly Justice shows France, tormented by the conscience, its unseemly deeds: revolution and apostasy, Napoleon on the throne. After France cannot bear it and falls, "harmonic music is heard, descending from above," and "The Genius of Russia descends to earth to help her, above which the double-headed Russian Eagle soars." A ray of hope illuminates France, and the Genius of Russia reminds her of how the Russian Empire "courageously endured the year 1812 and sacrificed Moscow, which it represents on its shield." The personification of France is transformed according to the rules of theatrical celebrations: she gradually lives out her theatrical "passions" and after prayers and repentance before God, "the sad attire of France disappears, she is visible in her former joyful clothes, dotted with lilies." The genius of Russia puts a helmet on France and hands her a shield, after which the two of them, holding the name of Louis XVIII, "rise in a light cloud" and fly to Paris [Walberch I. I. The Triumph of Russia or Ruski in Paris. St. Petersburg, 1814, pp. 3-5]. In this work, the figure of the Genius of Russia was equated in status to the personification of the country and meant the Russian Empire and at the same time the knight-emperor who stood at the head of its army.

Presumably, the projects of medals with such iconography "in the form of a knight" are also recorded in the "Experience on the rules of medal art" by A. N. Olenin (1817) [Olenin A.N. Experience on the rules of medal art : with a description of the projects of medals for the most famous incidents from 1812 to 1816, and three projects of a monument made of firearms, recaptured from the enemy in 1812. St. Petersburg, 1817]. Drawings of medals based on Olenin's sketches were made by his associate, the artist I.A. Ivanov ^{[16, p. XXII]}. For example, the description of the draft medal No. 5 says: "The genius of Russia, armed with faith in God, which is signified by the cross on his chest, the power of the people, marked by the mace of Iraklov, and the firmness of the Tsar, depicted by the helmet of Alexander Nevsky and the shield of the Russian Empire, strikes a serpentine enemy crawling through the urn of the Nemena River, over which the body of a snake it is fractured, and remains for the most part under the heel of the Genius of Russia, in the space from Moscow to the Nemena River. This is meant by an altar with Royal regalia, standing on a solid rock on the heights of the Moscow Kremlin and the urn of the Nemena River. Caption: And where is the nasty force? Signed: December 25, 1812." Here, the winged Genius of Russia is a courageous and active figure. He is half-naked, like an ideal ancient hero, armed with a club and an armorial shield, and his head is protected by the helmet of Alexander Nevsky (the helmet of Tsar Mikhail Fedorovich was associated with him in the XIX century ^{[16, p. VI, XXXIII-XXXIV]}) in commemoration of the glorious history of the Russian Empire. This is not so much a kind spirit as a completely material warrior-winner, whose idealized image is combined with the image of the ruler of the state. According to V.M. Faibisovich, the Genius of Russia was understood as Emperor Alexander I ^{[17; 16, pp. XXXVI-XLIII]}. An example of such an image of the genius of the state in European art is the Genius of France in the relief by C. Remy for the pediment of the northern facade of the Cours Carre Louvre (1811), which was given the features of Napoleon.

Similar to the Genius of Russia and the Genius of the allied Powers (projects No. 7, 8, 9): "The militant Genius of the allied Powers, marked by the ancient Russian helmet with the coats of arms of the four allied sovereigns who fought in these days, strikes Napoleon's eagle, strengthening to steal the yoke of the Rhineland Union; but the Genius, stepping on it, splits it and rejects it He is out of the clutches of his predatory opponent." This Genius, armed with a sword and a shield with the coats of arms of the allies, wearing the helmet of a Russian prince, symbolizes the forces of the anti-Napoleonic coalition led by the Russian Empire. In addition to a four-part or three-part coat of arms, this Genius could be accompanied by a coat of arms banner (No. 8).

The image of the Genius of Russia was also combined with the image of a mounted soldier of his modern army and George the Victorious, the coat of arms of Moscow: "The Russian Genius in the equestrian movement of the present time, overturning the enemy's force, which is indicated by the trophies lying under the feet of his horse, quickly flies to new victories, pointing the way to them by his example; the Russian eagle soars above him. Inscription: One more step. Signed: March 13, 1814" (draft medal No. 10). In this project, the medals of the Genius of Russia are symbolized by a cavalryman of the early 19th century on a galloping horse, accompanied by a double-headed eagle soaring in the clouds. On the chest of this eagle is the image of St. George the Victorious, echoing the image of a Genius. In the next project, the author returns to the image of a semi-naked hero, and here the Genius of Russia is difficult to distinguish from the Genius of the allied Powers, since he holds a three-part coat of arms: "To join Paris. The same warlike genius, having set up his trophies, signifying the victory he won at the very gates of Paris, from which he removed the monster, and having broken the bonds of this capital city, instead of righteous vengeance, does good by offering him a lily, which flourished with a little glory in France. The inscription: Winning does good. Signed: March 19, 1814" (No. 11). A special note reads: "The image presented on this medal was used by the Imperial Public Library in celebration of the capture of Paris in early 1814." Also at the bottom of the portrait of Alexander I (unknown engraver, 1822, GIM, inv. No. 24_1031, GIM No. 55709/14564), the vignette allegory for the capture of Paris in 1814 depicts the same winged Genius with a shield with three coats of arms, personifying the Holy Union of Russia, Prussia and Austria. He gives the kneeling personification of Paris a lily flower. The inscription reads: "Winning does good / For evil to Moscow, for good to Paris."

In the following description of the A.N. Olenin medal project, this Genius is again called the Genius of the Allied Powers. This indicates that the author linked the images of the Genius of Russia and the Genius of the coalition: "The same militant Genius of the allied Powers, asserting the royal crown on the restored ancient throne of France, embraces Europe, represented in the form of an armed woman with a shield resembling her name; she holds an olive branch" (No. 12). On the project of the medal "On the determination of the crowned owner of Russia in 1812" (No. 13), "The genius of Russia is represented standing firmly on a granite rock, leaning on a high cornerstone erected by the people to faith, the Tsar and the Fatherland, to which the shield of the Russian Empire is attached. The genius, having drawn his sword and closed his vagina with his hand, awaits the enemy, rising from the abyss in the form of a hundred-headed hydra." In this project, the semi-naked Genius of Russia is armed not with a mace, but with a sword, and the coat of arms accompanies him as the most important attribute. In this edition, the image of an ancient hero with the features of a Russian medieval warrior, combined with the image of the winged Genius of Russia with a coat of arms, glorifies the power of the Russian state and its ruler.

In the 19th century, the allegorical language gradually faded away. Many allegorical figures in art turned out to be irrelevant, while others were transformed or replaced by collective images. In the XIX century, the image of a Hero (Knight) appeared. This image, which became widespread in the second half of the century, also became the personification of the Russian Empire, its might, and at the same time was associated with the image of the emperor ^{[18, pp. 284-295]}. For example, in the series of medals by F.P. Tolstoy for the events of the Patriotic War, according to E.S. Shchukin, Alexander I was represented in the image of a Knight (Russian warrior) — in those cases when he personally participated in battles (in the subsequent series by F.P. Tolstoy, the image of a Knight was added a portrait resemblance to Nicholas I ^{[19, pp. 129, 137-138]}). Both of these images, a variation of the iconography of the Genius of Russia in the form of a knight in the art of the first quarter of the XIX century and subsequently the figure of a Hero, are associated with the theme of the glory of the state. The kind of iconography of the Genius of Russia in the form of a young man in an antique tunic has also not been forgotten. Thus, the "Russian Genius" appears together with the personification of History on the costume sketch by M.O. Mikeshin for the concert number "Monologues" ("For Monologues on February 19", 1880, St. Petersburg State Museum of Theatrical and Musical Art). In the interpretation of M.O. Mikeshin, referring to the last quarter of the XIX century, this is a young man in an antique toga and sandals, without wings, with a torch in his hand and fluttering golden hair with a star at the top (the picture is accompanied by the caption "The hair of a Genius is golden. The diamond star. The torch can be stuck into the floor"), in a golden cape — in the color of the Russian Empire, with images of double-headed eagles on it.

The iconography of the Genius of Russia, the good patron spirit of the state, varied. In the late XVIII — early XIX century The genius of the Russian Empire could be depicted as winged (or soaring) figures in antique attire or a child. Later, in the first quarter of the XIX century, the use of this particular figure as the personification of the state and its ruler was closely connected with the Patriotic War of 1812 and the formation of the idea of the ideal defender of the state, the "knight", in connection with which changes took place in the iconography of the figure of the Genius of Russia. In the XVIII century, during the era of women's rule, the most popular was the female allegorical figure of the Russian Empire. To glorify the power of the state, the female personification of the Russian Empire could be given some traditionally masculine features and attributes (armor and weapons). Perhaps the actualization of the courageous image of the Genius of Russia in the first quarter of the XIX century was associated with the accession to the throne of Alexander I. In the XIX century, the image of the Hero was becoming another personification of the state, in terms of meaning close to both the personification of the country and allegorical figures of power (Mars, Hercules), and the Genius of Russia, apparently, turned out to be an intermediate image. It combines the storylines of both European ancient mythology and Russian history, which is typical for the art of the Russian Empire in the first quarter of the XIX century.