St. Petersburg, Palace — engraving

'Vue du Chateau de Plaisance de l'Axarienne pris du Cote du grand bassin a Petersbourg'.
'A Paris cher J. Chereau rue St. Jacques au dessus de la Fontaine St Severin aux 2 colonnes n° 257'.

View of the Pleasure Palace of Ak-Sarai (Vue du Chateau de Plaisance de l'Axarienne) in the Vicinity of St. Petersburg

An engraving from the series - 'Vue d'Optique' (optical view) or 'Guckkastenblatt' (perspective view).

This print is a characteristic example of an 18th-century European optical view (vue optique). These engravings were created not so much for precise documentation, but to cultivate a romanticized, almost fairytale image of distant lands. The term "Chateau de Plaisance" was commonly used during this era to denote country estates or palaces intended for leisure and entertainment. The mention of "grand bassin a Petersbourg" (a large basin or pond in St. Petersburg) points to a specific landscape in the environs of the capital of the Russian Empire.

The name of the estate, "l'Axarienne," presents an intriguing puzzle for historians. One compelling hypothesis is that it represents a French transcription of the Turkic "Ak-Saray," meaning "White Palace." In the vicinity of St. Petersburg, for instance in Peterhof, ancient names with the root "Saray" have survived (such as the Sarayka River and the village of Saray), echoing old Novgorod trading routes. In the second half of the 18th century, during an era of fascination with Oriental exoticism following Russia's victories in the Russo-Turkish wars, the appearance of a "White Palace" near the capital would have been entirely in keeping with the spirit of the times.

However, as was often the case with optical views, the Parisian publisher may have created a composite image, inspired by travelers' descriptions or other engravings. The composition is built around a formal parterre with a large basin, against which an elegant classical-style palace rises. The foreground is enlivened with figures of strolling nobles and townspeople—a device characteristic of European topographical prints, intended to give the viewer a vivid impression of life in distant capitals. The primary goal of such a print was not architectural accuracy, but the creation of a vivid and memorable image.

About the Publisher:

The engraving was published in Paris by the workshop of the famous Chéreau dynasty. The publishing house, founded by the brothers François and Jacques, was renowned for the high quality of its works and enjoyed immense popularity throughout Europe. Such topographical prints not only served as interior decoration but also functioned as a "window to the world" for the people of that era, acquainting them with the architecture and fashion of other countries.

The address on the print — "A Paris cher J. Chereau rue St. Jacques au dessus de la Fontaine St Severin aux 2 colonnes n° 257" — points to the historic heart of Parisian printing, where the Chéreau family workshop was located for decades. The mention of the house number (No. 257) helps date this impression to the period of the workshop's flourishing in the second half of the 18th century, when it specialized in creating "views" for an enlightened European public.

Historical Significance:

This engraving is not only a fine decorative object but also a curious historical document—a testament to how 18th-century Europe imagined Russia. This idyllic landscape, with its formal parterre, large basin, and figures of strolling nobles, creates a romanticized image of the northern capital. While far from actual topography, it is invaluable for understanding the cultural connections and mutual perceptions between Russia and Europe during the Age of Enlightenment.

The original drawing for this engraving was created by Henri Courvoisier-Voisin (1757–1830) — a renowned Swiss artist and engraver, native of La Chaux-de-Fonds. After receiving an excellent education at the Paris Academy of Fine Arts (1778–1782), he returned home and dedicated himself to creating landscape and historical engravings, earning a reputation as one of Switzerland's finest masters . He was a virtuoso of the complex aquatint technique, and his topographical prints are distinguished by their serene harmony and meticulous detail.

Courvoisier-Voisin worked in close collaboration with Parisian publishers. It is documented that in the 1790s, his original drawings were used to create engraved views of Moscow and St. Petersburg, published by Basset — the same publisher that issued other "optical views" . This engraving, created from Courvoisier-Voisin's drawing and published by Jacques Chéreau's workshop, stands as a brilliant ex

Technique, Material: Copper engraving /  Hand coloured / Paper
Artist: Henri Courvoisier-Voisin, Engraver: 
Date, Publisher: Chéreau, Paris, 1760.
Size: sheet 32 x 47 cm.