An Englishman in Latvia
An Englishman in Latvia
On Rundāle Palace
One of Europe's most extraordinary baroque palaces is just 80 kilometres south of Rīga. Rundāle Palace, often referred to as the "Versailles of Latvia", represents more than architectural grandeur, as it embodies a fascinating story of political intrigue, artistic brilliance, and unwavering determination. The palace is deeply connected to one man: Ernst Johann von Biron. Join me as we explore the palace and the life of this remarkable man.
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On Rundāle Palace
One of Europe's most extraordinary baroque palaces is nestled in the fertile plains of Zemgale, just 80 kilometres south of Rīga. Rundāle Palace, often referred to as the "Versailles of Latvia," represents more than architectural grandeur, as it embodies a fascinating story of political intrigue, artistic brilliance, and unwavering determination. The palace is deeply connected to one man: Ernst Johann von Biron. The palace also played a role in my own life. It was where I represented the United Kingdom government as Chargé d’Affaires at the inauguration celebration of Latvian President Vaira Vike-Freiberga in 1999. And where I got married in 2016. We have visited Rundāle Palace regularly for over a decade to admire its magnificent baroque rooms and stroll through its beautiful rose and French gardens. One of the best in Europe.
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Our story begins with Ernst Johann von Biron, a man whose life reads like a theatrical drama. Born in 1690 as Ernst Johann Bühren in the modest village of Kalnciems, he was far from noble blood - his grandfather had been a mere groom in service to the Duke of Courland. Through a combination of charm, ambition, and remarkable luck, Biron would rise to become one of the most powerful men in the Russian Empire.
The turning point came when Biron's lady-in-waiting sister introduced him to the widowed Duchess of Courland, Anna Ivanovna. The handsome young man quickly became her favourite and, as many whispered, her lover. When Anna ascended to the Russian throne as Empress in 1730, Biron's fortunes soared spectacularly, and he was made a duke, granted estates, and received an income of 50,000 crowns annually.
Biron's most dramatic moment came in 1740. Empress Anna named him regent for the infant Ivan VI upon her death. A regent exercises power on behalf of an underage or incapacitated ruler. However, his regency lasted 22 days before rivals arrested him in a midnight coup. Initially sentenced to death, his punishment was commuted to exile in Siberia, where he remained for 22 years. Russian Emperor Peter III eventually restored his titles and freedom in 1762, and he returned to Rundāle for his final years.
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The conventional narrative of Ernst Johann von Biron often focuses on his political rise and dramatic fall, but beneath the surface lies a tapestry of hidden stories that reveal the complex, frequently scandalous reality of one of 18th-century Europe's most powerful men. These lesser-known tales illuminate the intimate intrigues, desperate schemes, and human vulnerabilities that shaped the man who ruled Russia from the shadows.
At the heart of Biron's story lies one of European history's most consequential secret love affairs. When Ernst Johann von Biron first entered the service of Anna Ivanovna, Duchess of Courland, in 1718, he was a minor court official with modest prospects. However, his relationship with the widowed duchess quickly became more intimate and politically significant.
The affair was carefully concealed through an elaborate charade. In 1723, Anna arranged Biron's marriage to Benigna Gottlieb von Trotha, one of her ladies-in-waiting, specifically to mask her romantic relationship with Biron. This marriage of convenience proved remarkably successful. Benigna remained devoted to Biron throughout his decades of exile, sharing his hardships in Siberia and never betraying the secret that had brought them together.
The relationship between Anna and Biron was so intimate that they lived in adjoining apartments in the palace, with Biron's quarters described as scarcely less expensive or splendid than hers. Contemporary observers noted that Anna took up horseback riding specifically to spend more time with Biron, who was renowned for his expertise with horses. Their emotional bond was so strong that Anna reportedly addressed horses like people and treated them like family, reflecting the central role equestrian pursuits played in their relationship.
One of the most intriguing hidden stories involves the persistent rumours about Karl Ernst von Biron, who many contemporaries believed to be the secret son of Anna Ivanovna and Ernst Johann Biron. Born in 1728, Karl Ernst was officially recognised as Biron's son with his wife Benigna, but the timing and circumstances of his birth fueled speculation throughout the Russian court.
The implications of this rumoured parentage were staggering. If Karl Ernst had indeed been Anna's son, he would have had a legitimate claim to the Russian throne, making him a potential threat to any future succession. This may explain why, despite Biron's enormous influence, he never openly pressed for his son's recognition as a possible heir, as such a move would have required acknowledging the illicit relationship that was the source of his power.
The secret was so well-guarded that Karl Ernst himself may never have known the truth of his parentage. Historical records indicate that he lived as a member of the Biron family without claiming imperial blood, suggesting that if the rumours were true, the secret would have died with Anna and Biron.
Ernst Johann von Biron harboured grandiose ambitions that extended far beyond his lifetime. He actively attempted to engineer a marriage between his son Peter and Anna Leopoldovna, Anna Ivanovna's niece, in a bold scheme to insert his bloodline into the Russian imperial succession. This plan represented one of Russian history's most audacious attempts at dynasty-building.
The plan was methodically conceived: Anna Leopoldovna was widely expected to be Anna Ivanovna's heir, and Biron calculated that marrying his son to her would position his descendants to rule Russia. However, Anna Leopoldovna "resolutely refused" the match, and even Anna Ivanovna, despite her devotion to Biron, would not force her niece into the marriage.
This rejection represented a devastating blow to Biron's long-term ambitions. Had the marriage succeeded, the Biron family might have established a new imperial dynasty in Russia, fundamentally altering the course of European history. Instead, the failed scheme left Biron's family as wealthy nobles rather than potential emperors.
While Biron's role in Russian governance is well-documented, the full extent of his involvement in state terror remains partially hidden. Contemporary sources suggest that Biron was responsible for over 1,000 executions and between 20,000 and 40,000 exiles to Siberia. However, recent scholarship suggests that Biron may not have directly controlled the Secret Office of Investigation, which was run by Senator A.I. Ushakov.
This revelation suggests that Biron's reputation for cruelty may have been partially constructed by his political enemies. The period known as "Bironovshchina" (the era of Biron) became synonymous with foreign oppression and terror. Still, some historians argue that the scale of repression was no greater than under other Russian rulers, and that Biron became a convenient scapegoat for the regime's brutality.
The hidden truth may be that Biron's power was more theatrical than substantive. Although he wielded enormous influence over Anna personally, the actual mechanics of government terror operated through established Russian institutions that predated and outlasted his influence.
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The story of Biron's brief regency following Anna Ivanovna's death in 1740 conceals layers of intrigue that go far beyond the traditional narrative of his rapid overthrow. When Anna died on 28 October 1740, Biron reluctantly accepted the regency for the infant Ivan VI. Still, his rule lasted exactly 22 days before he was arrested in a midnight coup on 9 November 1740. The coup itself was remarkably violent. When Field Marshal Münnich's soldiers broke into Biron's bedroom, the former regent desperately defended himself, and the soldiers inflicted 20 wounds on him during the struggle. Some of these wounds reportedly troubled him for years afterwards, suggesting the level of brutality involved in his arrest.
Hidden within this story is evidence of a deeper conspiracy. Biron's wife was dragged from the palace and thrown into a snowdrift. At the same time, her husband was being arrested, indicating that the coup plotters intended to humiliate as well as overthrow the regent. The fact that Biron was tied up, covered with an overcoat, and carried through the hall where Anna Ivanovna's coffin still stood suggests a deliberately staged degradation ceremony designed to reverse his former power symbolically.
Biron's 22-year exile to Siberia, from 1740 to 1762, conceals stories of extraordinary human endurance and loyalty. All of Biron's vast wealth was confiscated, including diamonds worth £600,000—an enormous sum that would be worth tens of millions today. Yet his wife, Benigna, voluntarily accompanied him into exile, sharing the hardships of Siberian life for over two decades.
The hidden story of this period reveals the depth of personal relationships that transcended the influence of political power. Benigna von Biron remained devoted to her husband throughout his exile, caring for him through illness and poverty while raising their children in harsh conditions. This loyalty was particularly remarkable given that their marriage had originally been arranged to conceal her husband's affair with the empress.
The family's survival strategy during exile involved maintaining careful political neutrality while hoping for eventual rehabilitation. Unlike many political exiles who plotted rebellion or escape, Biron accepted his fate and focused on preserving his family, a decision that ultimately paid off when Peter III restored his titles during his short reign as Tsar of Russia in 1762.
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What about the story of the palace?
Francesco Bartolomeo Rastrelli, born in Paris in 1700 to an Italian sculptor, would bring Biron's vision to life. Arriving in St. Petersburg in 1716, Rastrelli developed an opulent baroque style, defining Russian imperial architecture. His portfolio includes the Winter Palace in St. Petersburg and the Catherine Palace in Tsarskoye Selo, making Rundāle Palace his early masterpiece and one of the few that survived intact. Rastrelli's work at Rundāle is unique because it represents his early period, before he became the grand master of Russian baroque. Here, he had the opportunity to create an "ideal residence" according to baroque principles, planning both the palace and its gardens as a unified artistic vision.
The palace's construction reads like a dramatic play in two acts. Act One began in 1736 when Biron purchased the estate and demolished the existing medieval castle. Rastrelli's design was ambitious, with 138 rooms spread across a grand baroque complex. But when Biron fell from grace in 1740, the palace stood unfinished and abandoned, slowly crumbling under nature's assault for over two decades.
Act Two commenced in 1762, when Catherine the Great allowed Biron to return from exile after she had overthrown her husband, Emperor Peter III. Remarkably, at age 72, the duke immediately resumed construction of Rundāle, bringing Rastrelli back to complete their shared vision. The rapid resumption of the building suggests that Biron had access to hidden wealth or credit, which had survived his exile and confiscation. The source of this financial recovery remains mysterious. Some historians suggest that Biron had secreted away portions of his wealth, possibly in foreign banks or through loyal intermediaries, allowing him to finance his restoration projects. Others believe that Catherine the Great may have provided secret financial support as part of her broader policy of rehabilitating Anna Ivanovna's regime.
Biron's final years were marked by determined efforts to restore his family's status and secure his legacy. The palace was finally completed in 1768, with Biron moving in immediately and spending his final years there until he died in 1772. The completion of Rundāle Palace represented an architectural achievement and a statement of survival and renewed power. The palace's interior represents a collaboration of European masters. Johann Michael Graff, a German sculptor from the Wessobrunner School, created lavish stucco decorations that transformed rooms into works of art. Italian painters Francesco Martini and Carlo Zucchi from St. Petersburg created the magnificent ceiling frescoes, including the stunning apotheosis of Duke Ernst Johann in the Golden Hall.
The result is a palace where every room tells a story through its decorative programme, from the Golden Hall's imperial grandeur to the intimate Blue Room of the Duchess.
The final hidden story of Biron's life reveals the vulnerabilities beneath his restored grandeur. Despite his apparent recovery, Biron never fully regained his former political influence, remaining a regional duke rather than a power behind a throne. His last years focused on completing his architectural legacy and securing his family's position, rather than pursuing further political ambitions.
The man who once ruled Russia died peacefully in his palace, surrounded by the baroque splendour that represented his life's achievements. Yet the hidden truth was that Biron's power had always been more personal than institutional. When Anna Ivanovna died, the foundation of his influence crumbled, and he never again approached the heights of his former authority.
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After Biron's death, the palace passed through various hands. First to Catherine the Great's favourite Count Valerian Zubov, then to the Shuvalov family. The 19th and 20th centuries brought repeated disasters: Napoleon's armies used it as a hospital in 1812, the Germans established a military hospital there during World War I, and the Soviets initially showed little interest in preservation.
By the 1960s, the palace had fallen into ruin. The baroque garden had become overgrown, sports fields replaced the ornamental parterre, and many rooms stood empty and damaged.
The palace's salvation came through the vision of Laimonis Liepa, who founded the Rundāle Palace Museum in 1972. However, the true hero of restoration was Imants Lancmanis, who became director in 1976 and dedicated his life to the palace's revival. For nearly 50 years, Lancmanis oversaw one of Europe's most ambitious restoration projects. His approach was revolutionary. Rather than simply repairing damage, he sought to recreate the authentic 18th-century atmosphere through meticulous research and craftsmanship. The restoration was finally completed in 2014, returning the palace to its full baroque splendour.
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You can visit Rundāle Palace at any time of the year, seven days a week. Buy the combined palace and gardens ticket. You won't regret it! 10% discount if you purchase online, even on the day of your visit. If you have children, consider purchasing a family ticket. We visited this year on a Sunday in July, and although the car parks were quite full, the house and gardens are huge, so they can accommodate many people without feeling claustrophobic.
The palace's eastern wing contains the three great state rooms:
- The Golden Hall, which served as the duke's throne room, features Johann Michael Graff's golden stucco decorations against two-coloured artificial marble, topped by Martini and Zucchi's ceiling painting depicting the apotheosis of Duke Ernst Johann.
- The White Hall, which showcases Graff's white rococo stucco work and serves as the palace's main ballroom, where I got married, and
- The Great Gallery connects the formal rooms and was sometimes used for fine dining, displaying the palace's grandest proportions.
The central building houses the Duke's private apartments, including his restored library and study. The western wing features the fully restored Duchess apartments, characterised by their intimate scale and delicate decorative schemes.
Don't miss the palace basement, which features fascinating exhibitions on the building's construction history, stone carvings, and displays of ironwork. The basement also houses the palace's crypts and archaeological discoveries.
Then go outside to walk around the garden. Rastrelli designed the 10-hectare French garden in tandem with the palace, creating an architectural framework of green spaces that was meant to demonstrate the triumph of art over nature. The garden follows Rastrelli’s original 1735-1736 design, which has been perfectly preserved through restoration. It includes all the classic elements of baroque design: ornamental parterres, bosquets, pergolas, and a remarkable green theatre created following Rastrelli's original plans.
The garden's crowning glory is its rose collection, which boasts over 2,300 varieties, including 600 historical roses dating back to the 12th century. This makes it one of the largest rosariums in northern Europe, earning the European Garden Award in 2021.
Allow approximately two hours to tour the palace and an additional hour to visit the gardens.
My son loves a treasure hunt when visiting a historic house. So here is my list of ten things to find within the palace and its permanent exhibitions, for younger or older folk.
- Playing cards. This was a popular gambling pursuit when Duke Biron built Rundāle. Find a pack of cards. There are a few packs around.
- The altar of the Zemite Lutheran church. It’s big, but which room is it in?
- Frivolité knotting shuttle. This may be the hardest to find, as you probably don’t know what these look like! Get help from a palace staff member, the interactive displays in each room, or ask Google or ChatGPT.
- Frisian “Bible tiles”, 90 blue ceramic wall tiles depicting scenes from the Bible.
- The portrait of Wilhelm, Duke of Courland. This is big. But there are many painted portraits in Rundāle. Have you got the right one?
- 18th-century Dutch tobacco boxes. A little tricky to find as they are partially hidden.
- Rings of the Duchess Sophie of Prussia, Duchess of Courland. Easy one. If you are in the right room.
- Mantel clock “Diana with Deer”. Originally from a nearby manor house. There are many mantel clocks, so look carefully for the deer on top.
- Hearth hooks. Used in the preparation of meat dinners. They are big, but clue, look up!
- Green neoclassicism chair with arms. A clue on where to find this is in the colour!
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My touchpoints with Rundāle Palace span nearly two decades. I visited Rundāle a few times while serving as a British diplomat in Latvia in the 1990s. However, my most remarkable memory of the palace was being invited to the ceremony to celebrate the inauguration of the new Latvian President, Vaira Vike-Freiberga. The inauguration took place in the Latvian Parliament in Riga. Then, the invited guests drove the 80 kilometres to Rundāle Palace for the evening ceremony. I was Chargé d’Affaires at the British Embassy at the time. Dressed in black tie, with the Embassy car flying the Union Jack, we drove along the streets, where people waved. It is rude not to wave back, although I did feel like an impostor. A long queue of elites in Latvia snaked along the Great Gallery, waiting to pay their compliments to the new President. Behind me was the Mayor of Ventspils and oligarch, Aivars Lembergs and his family. Then a powerful man. Now regarded as a crook who has served time in prison for money laundering. Champagne and delicious canapes were served at the ceremony. I recall watching ballroom dancing in the White Room, although not by me, as I can't dance!
The second touch point was getting married in the White Room in May 2016. We had an outstanding classical music ensemble for the ceremony, which perfectly suited the room's grandeur, and various Latvian traditions were performed in the palace grounds afterwards. A memorable day, and surprisingly, the palace wasn’t expensive to hire for the ceremony.
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The hidden stories of Duke Biron reveal a man far more complex than the traditional narrative of foreign oppressor suggests. His life was shaped by genuine love, desperate ambition, family loyalty, and remarkable resilience. These secret dimensions of his story illuminate not just the personal dramas of 18th-century court life but the broader patterns of power, intimacy, and survival that defined aristocratic existence in an age of absolute monarchy.
For visitors today, Rundāle Palace offers a complete baroque experience, from the grandest state rooms to the most intimate private chambers, from the formal garden parterres to the romantic rose gardens. It's a place where history comes alive through every decorative detail, every vista through the gardens, and every room that echoes the ambitions and dreams of those who created it. Rundāle Palace stands as more than a museum. It’s a living testament to the power of artistic vision and human determination.
The palace's story resonates particularly strongly from an English perspective, as it represents the grand country estate that defined aristocratic life across Europe. Yet, unlike many English estates that evolved over centuries, Rundāle represents a single artistic vision realised in one magnificent burst of creativity.
The palace's survival through revolution, war, and ideological change speaks to the enduring power of beauty and craftsmanship. Rundāle Palace is a remarkable example of what careful restoration and dedicated stewardship can achieve in an era when much of Europe's architectural heritage has been lost. Visit it, if you can.
[Image by An Englishman in Latvia. Baroque music by Alana Jordan from Pixabay]
