Ukhtomsky, Konstantin Andreevich. Types of rooms of the New Hermitage. Gallery of Antiquities of Cimmerian Bosporus Hermitage ~ part 12

The artwork presents a meticulously rendered interior space, likely intended as documentation of its architectural features and display arrangement. Here we see a long gallery receding into depth, defined by a series of arched openings that lead to further spaces beyond. The perspective is linear, emphasizing the vastness and symmetry of the room.
The walls are structured with vertical panels, alternating between a pale pink hue accented with red and white decorative borders, and sections featuring what appears to be blue-grey marble or painted imitation thereof. These panels are punctuated by display cases, each containing artifacts presented on golden pedestals. The arrangement suggests a deliberate curation of objects intended for public viewing.
The ceiling is an elaborate composition of stucco work, exhibiting intricate floral and geometric patterns in muted tones of cream, beige, and pale blue. A central medallion, adorned with what seems to be a heraldic emblem, draws the eye upward, reinforcing the sense of grandeur and institutional importance. The lighting appears diffused, creating a soft illumination that highlights the architectural details without harsh shadows.
The floor is tiled in a geometric pattern of ochre and brown squares, contributing to the overall impression of order and precision. A subtle atmospheric perspective suggests distance, with the objects further down the gallery appearing slightly less distinct.
Subtly, the work conveys an atmosphere of quiet contemplation and scholarly pursuit. The absence of human figures contributes to this sense of stillness, directing attention solely towards the architecture and the displayed artifacts. It is not merely a depiction of a room; it’s a statement about the importance of preserving and exhibiting cultural heritage within a carefully designed environment. The composition implies a reverence for history and knowledge, suggesting that the space itself is an integral part of the experience of encountering these objects.