From The Crimean War: A History, by Orlando Figes (Metropolitan, 2011), Kindle Loc. 333-351:
More than any other Russian ruler, Catherine identified with the Greek cause. Under the growing influence of her most senior military commander, statesman and court favourite Prince Grigory Potemkin, Catherine even dreamed of re-creating the old Byzantine Empire on the ruins of the Ottoman. The French philosopher Voltaire, with whom the Empress corresponded, addressed her as ‘votre majesté impériale de l’église grecque’, while Baron Friedrich Grimm, her favourite German correspondent, referred to her as ‘l’Impératrice des Grecs’. Catherine conceived this Hellenic empire as a vast Orthodox imperium protected by Russia, whose Slavonic tongue had once been the lingua franca of the Byzantine Empire, according (erroneously) to the first great historian of Russia, Vasily Tatishchev. The Empress gave the name of Constantine – after both the first and the final emperor of Byzantium – to her second grandson. To commemorate his birth in 1779, she had minted special silver coins with the image of the great St Sophia church (Hagia Sophia) in Constantinople, cruelly converted into a mosque since the Ottoman conquest. Instead of a minaret, the coin showed an Orthodox cross on the cupola of the former Byzantine basilica. To educate her grandson to become the ruler of this resurrected Eastern Empire, the Russian Empress brought nurses from Naxos to teach him Greek, a language which he spoke with great facility as an adult.
It was always unclear how serious she was about this ‘Greek Project’. In the form that it was drawn up by Count Bezborodko, her private secretary and virtual Foreign Minister, in 1780, the project involved nothing less than the expulsion of the Turks from Europe, the division of their Balkan territories between Russia and Austria, and the ‘re-establishment of the ancient Greek empire’ with Constantinople as its capital. Catherine discussed the project with the Austrian Emperor Joseph II in 1781. They agreed on its desirability in an exchange of letters over the next year. But whether they intended to carry out the plan remains uncertain. Some historians have concluded that the Greek project was no more than a piece of neoclassical iconography, or political theatre, like the ‘Potemkin villages’, which played no real part in Russia’s foreign policy. But even if there was no concrete plan for immediate action, it does at least seem fairly clear that the project formed a part of Catherine’s general aims for the Russian Empire as a Black Sea power linked through trade and religion to the Orthodox world of the eastern Mediterranean, including Jerusalem.