Taras Shevchenko in the context of "Imperial Academy of Arts"

Fortune-telling is the spiritual practice of predicting information about a person's life. The scope of fortune telling is in principle identical with the practice of divination. The difference is that divination is the term used for predictions considered part of a religious ritual, invoking deities or spirits, while the term fortune telling implies a less serious or formal setting, even one of popular culture, where belief in occult workings behind the prediction is less prominent than the concept of suggestion, spiritual or practical advisory or affirmation.

Historically, Pliny the Elder describes use of the crystal ball in the 1st century CE by soothsayers ("crystallum orbis", later written in Medieval Latin by scribes as orbuculum). Contemporary Western images of fortune telling grow out of folkloristic reception of Renaissance magic, specifically associated with Romani people. During the 19th and 20th century, methods of divination from non-Western cultures, such as the I Ching, were also adopted as methods of fortune telling in Western popular culture.

The Petrashevsky Circle was a Russian literary discussion group of progressive-minded intellectuals in St. Petersburg in the 1840s. It was organized by Mikhail Petrashevsky, a follower of the French utopian socialist Charles Fourier. Among the members were writers, teachers, students, minor government officials and army officers. While differing in political views, most of them were opponents of the tsarist autocracy and Russian serfdom. Like that of the Lyubomudry group founded earlier in the century, the purpose of the circle was to discuss Western philosophy and literature that was officially banned by the Imperial government of Tsar Nicholas I.Among those connected to the circle were the writers Dostoevsky and Saltykov-Shchedrin, and the poets Aleksey Pleshcheyev, Apollon Maikov, and Taras Shevchenko.

Nicholas I, alarmed at the prospect of the revolutions of 1848 spreading to Russia, saw great danger in organisations like the Petrashevsky Circle. In 1849, members of the Circle were arrested and imprisoned. A large group of prisoners, Dostoevsky among them, were sent to Semyonov Place for execution. As they stood in the square waiting to be shot, a messenger interrupted the proceedings with notice of a reprieve. As part of a pre-planned intentional deception, the Tsar had prepared a letter to general-adjutant Sumarokov, commuting the death sentences to incarceration. Some of the prisoners were sent to Siberia, others to prisons. Dostoevsky's eight-year sentence was later reduced to four years by Nicholas I.

The Rumyantsev Obelisk (Russian: Румянцевский обелиск) is a granite obelisk located in Saint Petersburg. It is at the centre of Rumyantsev Square (ru), on Vasilyevsky Island, between the Menshikov Palace and the Saint Petersburg Institute for Painting, Sculpture and Architecture. The obelisk commemorates the victories of Count Pyotr Rumyantsev during the Russo-Turkish War between 1768 and 1774, and his service in the Russo-Turkish War of 1787–1792.

The idea for a monument originated late in the reign of Empress Catherine the Great, and was realised by her son and successor, Emperor Paul I, in 1799. Paul had attempted to persuade Rumyantsev's heirs to accept the offer of a palace built at public expense in place of the monument, but was turned down. The monument was built to the design of Vincenzo Brenna and was initially sited on the Tsaritsyn Meadow, later the Field of Mars. It was moved twice over its existence, to a new site on the Tsaritsyn Meadow after the Suvorov Monument was unveiled there, and then to Vasilyevsky Island after 1818, where it remains. The square it sits on was landscaped with gardens after 1867, and after a period being renamed after Taras Shevchenko during the Soviet era, had its original name, Rumyantsev Square, restored in 2001.

Ivan Yakovych Franko PhD (Ukrainian: Іван Якович Франко, pronounced [iˈwɑn ˈjɑkowɪtʃ frɐnˈkɔ]; 27 August 1856 – 28 May 1916) was a Ukrainian poet, writer, social and literary critic, journalist, translator, economist, political activist, ethnographer, and the author of the first detective novels and modern poetry in Ukrainian.

Franko was a political radical, and a founder of the socialist and nationalist movement in Western Ukraine. In addition to his own literary work, he also translated into Ukrainian the works of such renowned figures as William Shakespeare, Lord Byron, Pedro Calderón de la Barca, Dante Alighieri, Victor Hugo, Adam Mickiewicz, Johann Wolfgang von Goethe and Friedrich Schiller. His translations appeared on the stage of the Ruska Besida Theatre. Along with Taras Shevchenko, he has had a tremendous influence on modern literary and political thought in Ukraine.