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[39]Ceacraft,The Petrine Revolution in Architecture,p.197.
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[40]Hughes,Russia in the Age of Peter the Great,p.203.
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[41]Hughes,Russia in the Age of Peter the Great,p.207.
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[42]Hughes,Russia in the Age of Peter the Great,pp.212-216,265.
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[43]Hughes,Russia in the Age of Peter the Great,p.237.
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[44]Cracraft,The Petrine Revolution in Russian Culture,pp.12-16,254-255.
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[45]Cracraft,The Petrine Revolution in Russian Culture,pp.3,35,39.
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[46]Hughes,Russia in the Age of Peter the Great,p.85;Cracraft,The Petrine Revolution in Russian Culture,pp.50,57,61,引用了彼得1718年4月的指示。
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[47]Cracraft,The Petrine Revolution in Russian Culture,pp.63-64.
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[48]Cracraft,The Petrine Revolution in Russian Culture,pp.69-70.
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[49]Cracraft,The Petrine Revolution in Russian Culture,pp.79-87,210-219.
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[50]Hughes,Russia in the Age of Peter the Great,p.231.
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[52]Cross,By the Banks of the Neva,pp.279-280,297.
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[53]Ceacraft,The Petrine Revolution in Architecture,pp.189-190.彼得搞到了一些范·德·维尔德的作品，却没有认识到它们的影响力。
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[54]沙皇曾计划对威尼斯进行国事访问，以之作为其欧洲之行的一部分，在维也纳逗留期间，他可能与好友缅什科夫亲王一起去拜访了威尼斯，缅什科夫亲王也是威尼斯艺术的赞助人之一。S.Androsov,‘Peter the Great’s St.Petersburg
:Between Amsterdam and Venice’,in S.Androsov,I.Artemieva,I.Boele and J.Rudge,Venezia!Art of the 18th Century,London
:Lund Humphries,2005,pp.38-66.
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[55]I.Artemieva,‘Russia and Venetian Artists in the Eighteenth Century’,in Androsov et al.,Venezia!,pp.67-93.
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[56]Ceacraft,The Petrine Revolution in Architecture,pp.224-225.由E.维诺格拉多夫（E.Vinogradov）雕版，M.I.马哈耶夫（Makhaev）作画。萨尔米纳-哈斯克尔，《圣彼得堡全景画》，图9、图10以及马哈耶夫的条目。这两位作者都忽略了船只的中心地位。
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[57]Artemieva‘Russia and Venetian Aritists in the Eighteenth Century’,pp.90-92.
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[58]Cross,By the Banks of the Neva,p.310,315,322-323;N.Penny,Reynolds,London
:The Royal Academy,1986,pp.35-36,51,312-313,349,151.
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[59]Cross,By the Banks of the Neva,pp.322-323,and A.Cross,‘Richard Paton and the Battle of Chesme’,Study Group on Eighteenth-Century Russia Newsletter,no.14(1986),pp.31-37.这枚勋章现藏于大英博物馆。
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[60]Billington,The Icon and the Axe,pp.361-365.
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[61]Tredrea,Sozaev,Russian Warships in the Age of Sail,1696–1860,p.216.几乎所有的军舰都只能作解体处理。
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[62]Billington,The Icon and the Axe,pp.370-373.艾瓦佐夫斯基作品的数量和规模都极为庞大——例如，《暴风雨》（The Storm）强调了浩瀚大海中人类的脆弱，《九级浪》描绘了《启示录》中最后的洪水（《启示录》中并未提及洪水。——译者注）。近年来，由于俄罗斯寡头们大肆争抢旧制度时期的战利品，他那些激进民族主义画作的拍卖价格不断飙升。
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[63]1918年，苏维埃政府从彼得格勒迁至莫斯科，1922年12月正式把莫斯科定为苏联首都。1921年2月，曾在十月革命中发挥重大作用的喀琅施塔得水兵因对战时共产主义政策不满而发动兵变，遭到苏维埃政府镇压。——译者注
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