Catherine the Great: Portrait of a Woman

by Robert K. Massie

OVER TIME, the story of Catherine the Great’s journey down the Dnieper River to the Crimea in the spring of 1787 has passed from history into legend. It has been described as the most remarkable journey ever made by a reigning monarch and as Gregory Potemkin’s greatest public triumph. It has also been disparaged as a gigantic hoax: the prosperous villages shown to the empress were said to have been made of painted cardboard; the happy villagers were declared to be costumed serfs, marched from place to place, appearing and reappearing, waving and cheering as Catherine passed by. These accusations became the basis of the myth of “Potemkin villages,” the settlements Potemkin supposedly fabricated along the Dnieper in order to deceive Catherine and her guests about the actual state of her southern territories. In time, the expression “Potemkin village” came to mean a sham, or something fraudulent, erected or spoken to conceal an unpleasant truth. As such, it became a cliché; now, it is part of the language. In evaluating the allegation, two facts should be considered. The first is that those who mocked and condemned were not present on the journey. The other is that the results of Potemkin’s work were personally observed by many eyewitnesses, including three sharp-eyed and sophisticated foreigners: the Austrian emperor, Joseph II; the French ambassador, the Comte de Ségur; and the Austrian field marshal Prince Charles de Ligne. Over two centuries, no one has produced any evide...