Abstract
The article is devoted to studying the circumstances that served as the basis for the quotation of the original composition installed during the restoration of the Vincigliata Castle near Florence (1860s) in the sculpture A Well with a Gargoyle in the Livadia Palace. A comparative analysis of the copy and the original leads to the problem of hyperquotation in the work on the project of the imperial residence in the Crimea (1909–1914). For the first time, the article publishes the photographs of the historical courtyard of the Vincigliata sculptures from the State Historical Museum funds (Moscow) and the view of the Livadia well from the architect N.P. Krasnov’s author album from the funds of the Research Library under Russian Academy of Arts (Saint‐Petersburg).
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