The article is concerned with the history of the creation of sculptural portraits of M.M. Speransky (1772–1839) in the Russian Empire in the 19th century. The author has made an attempt to analyze what public image of this statesman was formed thanks to the art of sculpture. The first — distinguished by naturalism — sculptural portraits of M.M. Speransky, made using a death mask, were busts commissioned by private individuals. Public monuments that immortalized the statesman were appeared during the reign
of Alexander II. The figure of M.M. Speransky was presented on the reliefs of the St. Petersburg monument of Nicholas I and the Novgorod monument to the Millennium of Russia. In both cases, the representation was based on the image of a statesman, a loyal companion of Emperor Nikolai Pavlovich, proposed by Baron M.A. Korf. M.M. Speransky, as a political reformer, the author of cardinal constitutional reforms of the early 19th century, could not be immortalized in sculpture in the context of the symbolic policy of Alexander II, who was a principled adherent of the inviolability of autocratic power