Where is the big palace. Big Peterhof Palace. Palace in the XIX-XX century

In 2015, the State Museum-Reserve "Big Peterhof Palace" turned no little - 300 years. Three centuries ago by their decree Peter I signed Peterhof "sentence" of historical significance: it was here that the upper chambers were laid - the future large palace.

In the 21st century, the descendants decided not to do before Petrova Memory, and during the anniversary year, visitors should appreciate the efforts of the organizers: anniversary exhibitions, a scientific-practical conference, an updated "Olginskaya" collection, exhibition of Pyotra Alekseevich's drawings - and this is another incomplete list of events prepared for the celebrated date.

The large palace is considered to be the most beautiful palace of Europe. In addition, it takes not the last position among the largest monuments of the XVIII century and is under the reliable security of UNESCO.

Before you judge, it is necessary to see

Peterhof's handsome man - "adherent" of linear symmetry: 300 m of the main facade of his baroque composition is drawn to the Finnish bay.

The terrace of the Palace was equipped with a playground with balustrade, and it was nice to admire the view of the sea canal and a big cascade. The latter served as a front palace staircase.

Everything was thought out in detail, the brilliant idea is more than successfully embodied in life, and the palace himself fited so organically into the surrounding appearance that Jean-Baptiste Leblon - the chief architect of St. Petersburg - at one time expressed his attitude to this miracle: "... These are the things you need to see to judge their beauty. "

We built-built and ... rebuilt-rebuilt

All this beauty was erected in several stages. The first felling on 1710: Johann Brownstein began to build up the upper (Nagorn) chambers, but did not take into account the peculiarities of local soils - the chambers gave shrinkage and covered with cracks. After 6 years, Jean-Baptiste Leblon arrived in Peterhof to the rescue, which was a rework plan: Strengthening the foundation, building an underground aqueduct for groundwater removal, full change in layout and interior design. Supporter of light space, the architect first of all engaged in the increase in window and doorways, as well as the expansion of the balcony of the Italian salon - Leblon wanted to at the same time there could be quite a lot of people.

The grand plans of the architect after his death continued Nikolo Micketty - he gave the palace with a complete view, completing the gallery sides.

Empress Elizabeth Petrovna, becoming the throne, took up the reorganization of the palace. She wanted to change, and here - the whole palace was waiting for her master's hand. The scale was still those! The Rastrelli architect instructed to develop new drawings of the building, which he began in 1745. The center of the Grand Palace was not touched - everything remained, like under Peter, but the side galleries supplemented the magnificent church and coat of arms.

Also attached both the housings-rizalitis that changed the plane of the facade. The edge of the western body was the front staircase and a bright gallery. This gallery received another name - dance hall. He was the most sophisticated room in the Grand Palace.

In addition to all the Rastrelli, the interiors of the room with special care, turning the palace halls in sophisticated, elegant front rooms. Everything here breathed luxury and magnificity: suspended "mirror" vaults, puff painting, solid gilding, an abundance of mirrors, wall painting - they gave the feeling of an endless holiday. For complete design it took 9 years, during which palace lush celebrations did not stop. Peter's daughter, it is worth noting, knew a lot about organizing such events.

But 1762 came, and with him - and the time of the Board of Catherine II. The place of an incomplete Rastrelli took a new favorite - Jean-Baptiste Wallen-Demotam, who redid two palace rooms. For them, he picked up the fashionable Chinese style.

Another imperial architect Yuri Felten converted some parade halls - Avanzal, a throne room and a dining room. On this large alterations of the Big Palace stopped.

Luxury, accommodated in 30 halls

The big palace could rightfully be proud of the number of its halls: they were already up to 30 pieces. All the main premises were located strictly according to the "Palace Regulations" - on the second floor.

Chesmers, for example, served as a kind of waiting room for the beginning of the ceremonial. The prototype of the Peterhof dance hall was the mirror gallery of Versailles. A feature of such premises were fake sirrling windows. The throne hall was the largest in the area of \u200b\u200bthe hall of 330 square meters. M Palace was intended for official techniques, balls and concerts. The title of the oldest palace room wore a painted hall. In addition, it was originally the largest front room.

Paradinary rooms of own half included personal imperial offices, bedrooms, salons and toiletries. Access here had only faces close.

A small partridge living room, named as images of the partridges on precious silk, preserved separate elements of expensive upholstery on one of the walls, in the window drapes and niche.

The oak cabinet was unique: he is the only room of the palace, which in the 21st century can boast of a completely preserved decoration of the times of Peter's era. The office has some personal belongings of the king, including his road clock.

Kings - with the palace, architect - with a nose

If you look at the big palace from the top either of the lower parks, it seems that the building is huge. But this is a deceptive impression: in fact, the palace is narrower and not such impressive sizes seem to be.

Of particular interest in the palace was the blue reception: it did not relate to the parade halls, but performed in the role of secretarial. The feature of the reception was the maintenance of "submarines", in which all events in the life of the Big Palace were recorded.

According to legend, daughter Peter, Elizabeth, specifically ordered Rastrelli to decorate the dance hall in a special way - a cooler, with gilding. After all, the main appointment of the hall was the reception of famous merchants, dads to noble metal.

Great Rastrelli, creating a delightful palace, which was a parade royal residence and, possibly, superior to beauty, pomp and chic even Versailles, did not deserve a worthy remuneration. Elizaveta Petrovna was very pleased with the work of the architect, but did not pay him a penny.

In Petrovsky times, the large palace was a concentration of the official summer life of Russia: important state issues were raised in his walls, and the halls took noble guests, hurrying to balls and masquerades.

Even after 300 years after construction, the amazing Peterhof's large palace is striking with its magnificence and luxury.

Peterhof. View from a bird's eye view.

In the southern shore of the Finnish Bay above the water celebration of fountains of the magnificent palace and park ensemble of Peterhof, a large palace is dominated by a large palace, the architecture of which indicates a powerful flourish in the middle of the XVIII century Genius Rastrelli.

The current appearance of the complex was not immediately formed, and several periods can be noted in its formation. The first began in the spring of 1714, when Peter I conceived to build up the top chambers in the form of a two-story building with two risals and a central part allocated by the fronton at the top of the 15-meter coastal yield. For two years, under the leadership of the architect I. F. Brownshtein, the basics of layouts of the lower park and the upper garden were laid, a large carbon duct, a large grotto and the middle part of the monplasira were erected.

The second stage (from 1716 to 1719) is associated with the name of the French architect J. B. Lebedon, who made the already established composition of the ensemble. He strengthened the foundation of the upper chambers and built underground aqueduct for the brownwater lead, and the modest facades and interiors redid, giving the chambers of the face of a small front palace. The architect changed the central part of the building: in the center of the first floor there was an extensive cross-cutting lobby with columns and marble floors; In the Italian cabin, the largest room of the palace, the size of doors and windows increased; Each facade was arranged three parade entrance; The balcony on the consoles was increased. In 1717, Leblon has developed a "water plan", which included a large cascade water project and an extensive program for the decoration of the lower park and an upper garden fountains. After a fire in January 1721, the restoration of interiors coincided with the beginning of the perestroika chambers in the drawings of the architect N. Miketi, who led all the works to create the largest fountain structures of the complex in 1719-1723. Using in the project the basis of the composite decision of the Palace of Monplazir, it attached two symmetric flaghels to the upper wards, tied them with the central part of the building with arcades with gallery.

View of the big canal.

In memory of the Chesman battle in the Aegean Sea, in which the Russian fleet won and releasing the course of the Russian-Turkish war, Catherine II ordered the German artist Ya. F. Gakaket series of paintings "Burning the Turkish fleet on the night of June 26, 1770." In order for the master to reliably depict an explosion and a fire on the ship, on the raid in Livorno in the presence of a multi-thousand-thousand, the old 60-cannon frigate "Holy Varbara" was blown up and ached.

These paintings decorated the Chesme Hall of the Grand Palace in Peterhof

Palace from the Gulf of Finland

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For the first time in the new large palace Peterhof Elizaveta Petrovna arranged on June 15, 1752. The courtiers and guests who were present on it were delighted with the magnificence of architecture and the luxurious interior decoration of the palace

View of the palace church from the side of a large cascade

After the death of Peter I and the move in 1726, the imperial court in Moscow in Peterhof came a construction lull, tightened for five years. Returning in 1730 in St. Petersburg government agencies returned Peterhof the importance of the main country residence, which marked the beginning of new works. In the upper garden, five fountains were arranged on the projectors of Rastrelli with gilded lead sculptures and ornaments, filled with the models of the architect's father. The master established in different places of the park several trils from a different species, richly decorated sculpture. New fountains and a variety of tre-lagged decoration gave the upper garden as the same parade as the lower park had already had.

By the 1740s, there was a need to expand the upper chambers - the Palace of Petrovsky time, neither by its size, nor in architecture did not meet the requirements and tastes of the Elizavtian yard. In December 1745, Elizaveta Petrovna ordered Rastrelli "On both sides of the big chambers on galleries to make wooden apartments with decent rest." The project designed by him the gallery was not carried out because of the doubt in the author's drawings. In April 1747, another project was approved and prepared for work began. The Empress wanted to have a country residence for lush techniques and front ceremonies, on beauty and engineering solutions that were not inferior to the famous Versaille. A typical feature of this ensemble, in which further development artistic featuresAnnounced in the architecture of Petrovsky time, there was a strictly regular construction of the plan. The whole composition was subordinate to the primacy of the central axis, it was determined by the provision of the main palace building.

Trellier - Wooden or metal design (grille). Playing the role of support for curly plants, provides a cross-cutting separation of space in the garden-park ensemble, the direction of transitions, and also serves as a frame for organizing Vista - a narrow perspective directed to an outstanding landscape object.

Palace Church

Auditz-hall.

The palace began to rebuild in 1749-1751 in the style of mature baroque with unprecedented by a blank and luxury. Under the leadership of Rastrelli, architects N. Girar, Ya. Dmitriev, I. Cossacks and numerous builders' masters. The alteration of the building began with disassembly of stone outbelles and galleries, erected by N. Miketi. The length and height of the facilities were increased, which made it more monumental and the parade. The length of the facade facing the sea was 268 meters (the opposite is formed from the main volume of the structure and the two perpendicular flaghels, so it is never measured), while the width was not very large. The building had about 30 premises. The old Petrov chambers were included in the central three-storey building of the newly built large palace. Side Flegenes appeared: East - "Church" and West - "under the coat of arms". Each of them, belonging to a whole whole, was a traditional cubic volume in the Russian architecture with a complexly developed crown part.

Feature of the dance hall - mirror windows and shutters that occupy the main space of the deaf western and northern walls. Many mirrors create an effect of repeatedly enlarged space

Blue Cabinet.

Cultured - the designation of the construction stage, on which the principal structures of the building are ready and further decoration and decorative design of facades and interiors are possible.

This reflected attentive study and creative development of the ripplers of the artistic traditions and composite techniques of the Russian Dopeprovsk architecture. Flygeli was connected to the central building with single-storey galleries, formed open terraces on the second floor.

From the side of the upper garden, the building of the palace reminded the configuration a stretched letter "P". In the composition of the construction, separate interrelated volumes, rhythmically increasing to the center, were distinguished. It gave the building a special plastic expressiveness and magnifier. In the guise of the palace, high curly roof played a significant role, the completion of the roof in the form of a gilded vase of a complex configuration and especially gilded domes with a variety of embossed decor. The finish of facades was distinguished by restraint, although it used all sorts of decorative elements characteristic of the Baroque architecture.

By the beginning of 1750, the outer decoration of the Eastern Flegene and the Palace Temple was completely completed, and the Western Flygel and central housing - Lined up. In the West Flegele Rastrelli made a front door. Such a decision allowed the architect to deploy the enfilade of the frontal halls strung on the axis along the facade. At the end of the summer, 1750 was covered with iron dome of the Flegene "under the coat of arms" and the central part of the building.

Main staircase.

For the construction of the Palace in Peterhof, which Empress Elizabeth Petrovna was very pleased, Rastrelli did not receive any remuneration.

Rastrelli also performed projects of decorative decoration of the premises. Five years have left their implementation. For interior premises, set of parquets, panels, carved decorative parts, forged lattices and so on were preparing for interior.

In early 1751, Rastrelli realized the draft decoration of the Palace Church, and in January next year - the project "The best decoration of the joiner and golden campaign" (later called "Chesmen"), in 1753 he presented sketches of finishes with ornamental carvings and sculpture of the second advanced Further - audience hall. The design of the audience hall and the temple was noted by the synthesis of painting and decorative thread. The walls were covered with wooden gilded threads that had fallen mirrors, doors and window openings. Picturesque plaffones and paintings, the decoration of the walls, the ceilings were harmonized with colored patterns of set parquets.

Sculptural design of the front staircase

In 1755, Rastrelli performed a project of the device in the Greater Hermitage Palace with a lifting table and chair.

The main (merchaous) staircase was decorated with wooden gilded vases and four carved statues - the time of the year allegories; A picturesque plander was located above the staircase, and an ornamental painting was blocked on the walls.

In the same character, the decoration of the dance (merchant) hall with an area of \u200b\u200babout 270 m, which occupied the entire wing of the palace was performed. This is the most magnificent room of the palace, his interior is designed in a special festive vein. The hall was created in 1751-1752 and completely retained the initial idea of \u200b\u200bRastrelli.

Work on the restructuring and expansion of the Grand Palace was completed in 1755 by creating ceiling, installation and gilding of a wooden thread in the audience hall. Subsequently, many premises were redone the J. B. Wallen-Demump, Yu. M. Felten, A. I. Censhneider. Nevertheless, a number of interiors until 1941 retained a baroque decoration of the middle of the XVIII century, made according to Rastrelli projects. But during the Great Patriotic War, they were destroyed.

In 1951, restoration and restoration work began in the palace, which are not finished to this day.

The Big Palace of Peterhof became the incarnation of the transition period of the master's creativity to high baroque and preparations for a much more significant and solid work of the architect - the Bolshoi Ekaterininsky Palace of the Tsarist village.

The Grand Palace is the center of the Peterhof ensemble, which is located in Peterhof, 29 km from St. Petersburg, on the southern shores of the Gulf of Finland. This is the so-called "coronal" residence of Russian kings. Almost 300 meters stretched along the terrace of a majestic three-story building.
The idea of \u200b\u200bthe location of the royal residence and the initial appearance of the Nagornolen chambers belonged to Peter the Great.

The creation of the architectural appearance and the design of the internal decoration of the Grand Palace for 18-19 centuries. The famous Western European and Russian masters worked: J.-B.B.Bonztein, I.-F.Brunstein, F.-B. Rastrelli, M. Zemtsov, N. Micketty, A.I. Shockenshneider. Until now, visitors to the Grand Peterhof Palace are not tired to admire its magnificence.

Initially, the palace, built in 1714-1725. According to the project Zh.-B. Leblona and I. Brownshtein, looked rather modest. Later in 1745-1755. He was rebuilt by Elizabeth Petrovna according to the model of the Versailles Palace on the project F.-B. Rastelli in the style of mature baroque.

Particularly impressive view of the facade of the Big Palace from the Nizhny or Top Park. But in fact, the building of the Grand Palace is quite narrow and not as much as it seems at first glance. The large palace includes about 30 halls, which includes luxurious frontal halls, plastered under marble, with an inlaid parquet, painted ceilings, gilded walls.

Among the numerous halls of the palace are distinguished: a blue reception room, dance hall, Chesme, white dining room, audience hall, Chinese cabinets, painting room, partial living room, Empress Cabinet, corona, large blue living room, cavalier, toilet, tent standard, etc.

In the Petrovsk part of the palace, the Oak Cabinet of the First Russian Emperor has been preserved. The main element of the decoration of these small cozy chambers - carved oak panels, which were created by the life of Tsar Peter I, the French sculptor Nicolas Pinot. Personal things of Peter I are also presented in the Oak Cabinet, including the road watches made by the German Master of Johann Benner.

During the reign of the daughter of Peter I, Elizabeth, in the middle of the 18th century, in Peterhof worked the unsurpassed Baroque style master, the famous architect Francesco Bartolomeo Rastrelli. For interiors, which were created by the genius of Rastrelli Typically abundance of gilded wooden thread, numerous mirrors, set of parquets made of different wood species, bright and colorful ceiling plaffones.

Almost all the western wing of the Grand Palace is a dance hall (in the 18th century. It was called the merchant hall). The legend says that Empress Elizabeth Petrovna demanded specially that Rastrelli had grieved this hall, since the main appointment of this hall was the reception of famous merchant representatives, which, according to Elizabeth, were very loved by all the golden.

New alterations and changes in the interiors of the Grand Palace occur in the second half of the 18th century. In the trendy classic style at that time. Famous architects w ... Wallen-Demotam and Yu.M. Felten in 1760-1770. Engaged in the design of interiors of Chesmensky, throne halls, Chinese cabinets.

As a result of two-year construction, a delightful palace turned out, where the luxury and magnificence of the halls of the middle of the 18th in the middle of the 18th are shone next to the modest quantities of Petrovsky times. Baroque style. Next to them keep the calm and severity of the solemn apartments in the style of classicism. Theirs of the mid-19th century are replaced, in which artistic principles of Rococo style are reborn.

The Grand Palace in Peterhof was the center of the official summer life of Russia: it was here that many important issues were solved for the country, entrepreneurs were carried out by entrepreneurs, holidays, masquerades and balls.

Today, the big palace is a unique historical and art museum with a collection of about three and a half thousand exhibits, which includes painting, furniture, fabric items, lamps, dishes that responded to the tastes of the crowded palace.

The Big Peterhof Palace is the main building of the Peterhof palace-park ensemble in the city of Peterhof on the southern shore of the Gulf of Finland, 29 km from St. Petersburg.

Originally rather modest tsarsh Palacebuilt in the style of Petrovsky Baroque in 1714-1725 for the project I. Brownshtein, J.-B. Leblona, \u200b\u200band then N. Micketty, was rebuilt (1745-1755) Elizabeth according to the model of Versailles (Arch. F.-B. Rastrelli), - in the so-called style of mature baroque.
The length of the facade facing the sea is 268 m.
It is part of the State Art-Architectural Palace and Park Museum-Reserve "Peterhof".

Central part of the southern facade overlooking the top garden

Upper park and large Peterhof Palace.

Perspective of the sea canal

The view of the facade of the Big Palace from the upper or lower parks is impressive, but the palace itself is quite narrow and not so big as it looks like. There is approx. 30 halls, including richly decorated frontal halls, posted under marble, with painted ceilings, inlaid parquet and gilded walls.

Sadovnikov V.S. Vida Bolshoi Peterhof Palace from the Nizhny Garden, 1845.

Main staircase

Allegory Spring

The main entrance is placed in the Western Flegele Palace. Such a decision was allowed by B.F. Rastrelli to deploy an imfilade of the front halls, strung on the axis along the facade (this principle is most fully implemented by the architect in the next time to create a large palace - Ekaterininsky).

Main staircase. Allegory of Summer and Spring

Square in terms of a room with a two-sweat staircase - one of the most spectacular interiors of the palace, featuring a parade and luxurious finish. In it, Rastrelli reached the maximum synthesis of the arts, applying almost all possible decoration equipment: oil painting of the ceiling, tempera wall painting, stucco, wood carving, wrought metal. In the interior of the stairs, various sculptural forms are diverse: bas-reliefs, cartoons, statues, rokaili, vases.

But the main element of the decor, traditional for the Rastrelian interiors, is a gilded carving. Performance refers to 1751; The team of Russian masters was headed by Joseph Shammer.

The lower part of the staircase decorate carved caryatids, recreated in the post-war years in the models of sculptors of Mikhailovoy and E. Maslennikov.

The most notable sculptures of the upper part are the allegorical images of the time of the year, adorning the top pad of the staircase.

Summer

The staircase ceiling is decorated with a ceiling "Allegory of Spring" work Bartolomeo Tarsia (1751).

Dance hall

Blue reception

The interior was created by B.F. Rastrelli and not subjected to change in the future.

Ivanovsky Ivan - View of the Big Cascade in Peterhof

In 1773, the artist completed the work on the canvas; The place for them was defined in advance, the Avanzal of the Peterhof Palace became them.

During the Great Patriotic War, the interior was completely destroyed.
The paintings were evacuated, but the ceiling in a hurry could not be dismantled, and it burned down.
During the restoration, he was found in replacement, the work of Augustine was tervestine "sacrifice of infigration" (1690 years).
Heatically, he even more former fit into the interior of the Chesmensky hall, as it was created on the plot from the history of the Trojan War, which turned on the shores of the Aegean Sea.

Restored in 1969

Throne room

V. Erixen. "Hike to Peterhof" (equestrian portrait of Catherine Great). 1762.

Chandeliers of the Throne Hall

Throne chair and picture "Procession for Peterhof"

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Auditz-Hall

Central part of the ceiling "liberated by Jerusalem"

Another means of highlighting the vertical volume of the hall were pilasters in the corners and on longitudinal walls, ending with expressive carved capitals (the architect at the interiors of the palace rarely used the order).
Mirrors, a traditional baroque design element, fully used in the lower tier of the hall. A huge mirror in the center over the fireplace and opposite it, from them the mirrors are slightly smaller on the right and left on the longitudinal walls, and two more in simple windows - such many illusory prospects contributes to visual expansion of space. The main element of the decor is traditional for Rastrelli - this is a gilded carving. The ornaments of mirror frames differ in particularly complex and whimsical pattern.
An interesting detail of the interior is women's busts, crowning ornaments around the windows; The motive is repeated in the form of female heads over the windows-fooling of the second tier. Interestingly, since the Rastrelli, the hall was never subjected to alterations until 1941

The arch is decorated with a single pictorial work in the audience hall: a plafone depicting the final episode of the poem Torquato Tasso "liberated by Jerusalem". The ceiling was written in 1754 by P. Ballarini specifically for the "audience cameras" (the Italian artist worked in Russia for a long time and did not create anything else). Picturesque work is different from the rest of the Palace Plafimon, an unusual choice of theme: Instead of the conditioned allegory, a love-heroic poem was elected.
In 1941, during the fire, the palace was died; Now in his place is recreated by L. Lyubimov and V. Nikiforov, with the participation of A. Soldatova in 1979 a copy.

The hall was used for small state techniques. In the middle of the XIX century, when it became a practice to cover the tables in all the front halls of the palace for solemn lunches, the place of stats ladies was assigned; The hall received its second name - State Dame.

White dining

"Veduzhwood service"

The initial dining room decor, made in the traditional for B. F. Rastrelli manner, existed not long.
In 1774-1775, Yu. M. Felten reworked the hall, and by the nature of the alteration he received his current name. White dining room makes up an expressive contrast to the previous interior: After the abundance of shine gilding and playing mirrors - almost complete monochrome and matte texture. The interior was solved in strict canons of classicism, and the contrast of two neighboring rooms is easily traced the differences between two stylistic approaches.
There are no holly in the hall, the ceiling is emphasized by a monumental eave, which, however, does not come into contact with the ceiling plane; Carved gilded panels made of wood gave way to plaster stucco; Demports lost ease and amplified by Sandricks.

Historical thrust, cornice, Sandriks create a compositely closed interior.
In contrast to the baroque desire to reveal the space by the prospects from the windows or through the mirror effects, the classic approach is characterized by the desire for the space balanced, self-sufficient, harmoniously organized and internally completed, which is fully realized in the interior of Felten.

White dining

The white dining room also stands out among the rest of the palace halls in the absence of painting. The function of the main decorative design carry wall bas-reliefs, in other interiors, which carried out only an auxiliary role. All stucco panels were performed by Russian sculptors. Plots of bas-reliefs - Allegories of abundance (amours supporting baskets with fruits and flowers), compositions from hunting trophies, in the upper tier - compositions from musical instruments. In the simplicity of the upper tier, medallions of F. G. Gordeyev are also placed on mythological plot about Dionysse and Ariadne. Bas-reliefs are recreated in the post-war years in L. Shvetsky models, Mikhailova, E. Maslennikova.

In the modern exposition of the hall, the "Veduzhwood service" (or Husk service) is set.
The dishes made from the faience of an unusual cream shade with a thin flower pattern of a lilac-lilac color was made at the Etrury factory in Staffordshire J. Maddlewood. This is one of the early works of the English ceramist who later became world famous. Catherine II ordered the service in 1768; In 1779, it was obtained fully and included about 1,500 items. Not all exhibited items are manufactured at the Mainwood Plant; Over time, the dishes fought and partially replenished at the expense of copies created on Russian manuff.

Now the hall is shown at 30 cuvettes from 196 items. Court dinners or dinners in the XVIII-XIX centuries were ceremonial and continued for several hours; The menu included several changes; So that the dishes are not cooled at the conversations, the plates were put on the "Watermen" filled with boiling water. Solemn lunches and dinners were serviced by a staff of up to 500 people, including cooks, Laces, Cofeshenets, etc.

Chandelier in white dining room

In the white dining room there are elegant round furnaces made of white irregular tiles of Russian production. Initially, they were performed according to the sketches of Y. Felten. Broken in the war years, the furnaces were restored in the post-war years V. Zhigunov, A. Povarov, V. Pavlushin

White dining room closes the enfilade of the large front hall halls of the palace. Her location in the layout conducts the border between the official halls and private palace rest.

Two small rooms are adjacent to the white dining room - buffets (the name has been fixed from the middle of the XIX century; before that, one of them was named heated).
The utility rooms were used to prepare dishes for the table and storage of dishes; Were furnished with oak tables and dishwashes.
Now in one of the buffet, picturesque works from the collection of the Museum of work by A. Sanders, made in 1748.

Chinese cabinets

The most exotic on the decor with the premises of the Palace without a doubt are Western and East Chinese offices. They are located symmetrically relative to the central axis of the palace, framing the painted hall.
This is the part of the palace that existed initially; Over time, she was rebuilt and changed the entire functional destination.
In Eastern Cabinet, earlier, under Peter I, there was a dining room. The idea to equip Chinese cabinets belongs to Catherine II and was implemented in 1766-1769 and was not significantly changed in the future. The interior was developed by the architect J. B. Wallen-Demotam.

The basis of the decorative decoration was taken by Chinese varnish shirms, Chinese lacquer miniatures, brought to Russia, while Peter I.
The thickness of the shifters is allowed to cut them along to use for both sides of the sash.
In each office, the architect posted five decorative panels (now only two - authentic; the rest of eight are recreated instead of lost during the war).
The painting, made on the black background, is characteristic of the Chinese visual art of the late XVII - early XVIII century. Among the plots are traditional rural scenes and island landscapes.
Three panels are highlighted by thematic originality: they show the stages of production Silka, the performance of the military in the hike and harvesting rice.
However, the area of \u200b\u200bthe Chinese panels was not enough to create a harmonious interior, and then Wallen-Delamot decided to use the framed upstairs, which Russian masters of lacquer miniatures were painted on his sketches. Thin stylization was performed flawlessly. Plots served landscape motifs, images of animals, colors, birds; Pictures on inserts are not repeated. The size of the largest composite panel is 4.5 x 2.3 m.

As a background for lacquer panels, a silk slope was chosen; Golden tones - for the Western Cabinet and Raspberry Red - for East. The doors were also decorated with watery painting in Chinese style. The doorways architect conceived an unusual pentagonal form; The des'iports of the Western Cabinet are decorated with a stylized sunny disk at the top of the pentagon and dynamic gilded dragon figures on the sides that stretch their paws to the sun.

Ornamental plaffones, painted in the lacquer technique on ground plaster, resemble a porcelain painted painting (unusually large stoves in the cabinets are made in the technique of under-cordical painting). The ceiling is decorated with Chinese-style lanterns from painted glass. They appeared here in the 1840s, it was the last addition to the interiors. Parquet parquets - with the most intricate and complex pattern among the palace halls, it is made in the technique of marquetry from the wood of valuable rocks: amaranth, rosewood, ebony, walnut, sandalwood, chinara.

In rooms, in accordance with the exquisite stylization, selected furniture and artistic decoration. Part of the furniture is truly Chinese items, lacquer miniatures, donated by Catherine II (a table painted with red varnish and rosewood chairs with pearl inlash in the Western office); Other - works of European masters in the Chinese spirit. The Eastern Cabinet presents the works of the English furniture makers of the XVIII century with a trim of lacquer painting: a desk and chairs, outdoor hours; In Western - a unique bureau of French work of the 1770s.
At that time in Europe, especially in France, the manufacture of objects in the style of "Shinoazri", stimulated by the high interest of the aristocracy to the Far Eastern exotic and the rarity of the original articles, was well established. Staying constructively European, this furniture at the expense of paintings and decorative details successfully imitated Chinese.

Over the rich in color, many prominent artists worked on the ranks of Wallen-Devil, Antonio Perezinotti, Brothers Alexey and Ivan Beliek, A. Trofimov, I. Okodovumov, "Master of Lakov" Fedor Vlasov.

The modern exposition of the museum also includes a collection of porcelain products of the XVII-XIX centuries, made by Chinese and Japanese masters: dishes, vases, candlesticks, figurines; Cantonese enamel, lacquer painted boxes and cabinets.

The passion for Chinese art, characteristic of the XVIII century, in addition to painted silks in the sofa, has another reflection in Peterhof: in the Palace of Monplasir, Petra I.

Painted Hall

Painted Hall

The spacious double hall, which is in the framework of Chinese cabinets, occupies a central place in the planning of palace premises; The composite axis is passed through it not only the palace itself, but also the lower park and the top garden. From the large windows-doors of the lower tier, which goes on both sides, is visible by the prospect of the sea canal, breaking the lower park and go out to the Finnish bay, and the basins of the top garden fountains (windows-doors lead to the balconies, the only in the palace).

Doors with desustemport

The painted hall is one of the oldest premises of the Peterhof Palace, it was created in the construction of the "Nagorny Chambers" Peter I.
In the initial embodiment, the hall was the largest front desk.
Volumes and proportions of the hall for all subsequent restructuring did not change; He even retained the elements of the original finish on the intention of the emperor, which was embodied by J.-B. Leblon and N. Micketty.
These include stucco eaves, Paduh's painting and the work of Bartolomeo Tarsia on the topic "Heroglyphika History", created in 1726. A complex multifigure canvas (more than thirty characters) glorifies the hero (Peter I); Above him fluttering a low-headed eagle, around him - the ancient gods of the Femid, Athena, Ceres, Mercury; Allegory of eternity in the form of a winged woman with a ring, truth, striking ignorance, a vice running from the light.
The tempera painted in the monochrome manner on the puffs, compositely fusion with their form, continues the subject of the ceiling. Attributes and emblems of military glory are depicted, large-scale figures symbolize time, truth, glory, power, patriotism and sea victories. In the surrounded signs, the angular medallions were inscribed by Neptune, Mars, Apollo and Bellona profiles. There are also allegory of four elements on longitudinal puzzles.

It is known that under Peter I, the interior was decorated with tapestries of French work and 16 paintings of Italian painters, for which the hall was called the Italian interior.
In the future, the decor of the hall was repeatedly reworked. In the 1950s of the XVIII century, the interior was changed by the project B. F. Rastrelli: parquet appeared in the hall, replaced marble tiles, mirrors in baroque frames, as well as exquisite desesytems.
Their expressive sculptural composition from the female bust surrounded by birds with open wings is repeated many times in various variations in further palace rest.

In 1764, the hall found his current species when, on the project Zh. B. Wallen-Demotrote, a pilot ross of paintings belonging to P. Rotary's brush was completed. Count Pietro Rotary who came to Russia in 1756 enjoyed a reputation as a master of idealized portrait, was appointed court artist and enjoyed the favor of Empress Elizabeth Petrovna. He left a mark in Russian painting: He studied F. S. Rokotov and I. S. Argunov.
In 1762, Rotary died; Ekaterina II ordered to purchase the Italian artist's widow all his canvases remaining in the workshop. Part of their Rotary brought with themselves from Germany and Italy, but most were created in Russia. A big expert of the costume, Rotary loved to draw idealized portraits of young girls or men in national clothes (Polish, Russian, Turkish, Hungarian, Tatar, etc.).
Most of the works of the artist who fell into Peterhof - just such portraits.

Rotary was a prolific and trendy artist: in the Chinese Palace Oranienbaum there is a Rotary Cabinet, in the Arkhangelsk, near Moscow estate of Yusupov, - Salon Rotary; His works are presented in the collections of Russian and foreign museums.
But the largest meeting of the artist's work is presented in the art hall:
368 Cloths occupy almost the entire area of \u200b\u200bthe walls.
High wave was often used to decorate interiors; In Peterhof, the Hermitage Pavilion was selected in the same way, in the Greater Ekaterininsky Palace, too, there is a painted hall, where the same principle of placement of pictorial works was implemented.
However, there was no case that the holders were compiled from the work of only one artist; In this regard, the interior has no analogues. Hall, during the times of Elizabeth Petrovna, for a short time called the old, began to refer to the Cabinet of the mod and grace or the gallery of Rotary; Over time, the current name has been fixed.

The museum exposition of the hall as an illustration presents some furniture items that resemble the former use of the hall. Folding lonely tables of the XVIII century indicate that card games were often satisfied here. The hall has established piano, made in Moscow in 1794 (Master Johann PCMPF); In the 19th century, musical evenings were held here for a narrow circle of an approximate courtyard.

During the Great Patriotic War, the central part of the palace, where the painted hall is, was blown up, except for the roof and inter-storey floors, the northern wall, which looked at the sea canal and the Finnish bay. Only three walls remained from the entire hall.
Restored by the hall one of the first- in 1964. His Plafof and Parduga are recreated by the artists of the Brigade Ya. Kazakov.

Partner living room

Partitioned living room, or Boudo, opens the enfilad of the female half of the palace. Located in close proximity to the bedroom and toilet, it was used for the morning pastime of the Empress in the nearest environment.
The room is located in the old, Petrovsk part of the palace. Before redeveloped, undertaken by B. F. Rastrelli, there were two small rooms on site, and one of them was without windows. Subsequently, the Rastrellian interior was reworked by Yu. M. Felten, who, however, did not change his overall character: some gilded ornaments on the walls and doors were left, and Alcove separating the sofa placed in the living room from the rest of the room. Felten created a new niche for the sofa, smoothly bent to alcova wall plane.

The room is owned by the sophisticated wall decoration. Flusted pale blue fabric of silver low tide with wounded images of partridges, included in the ornament of flowers and wheat ears, was designed according to the sketches of Philip de Lassale (de La Salle).
Lyon artist in the second half of the XVIII century enjoyed great fame: he worked on the sketches of upholstery silks for residences of all European monarchs.
Figure with Kuropatkmi was specially developed for the Peterhof Palace; The customer of expensive Silka was Catherine II. The dilapidated fabric in the XIX century twice (in 1818 and 1897) resumed in Russian factories in exact accordance with the original.
The preserved piece of matter, wounded at the end of the XIX century, was used at the reconstruction of the interior after the war for tightening the western wall of the living room and as a sample for the manufacture of upholstery for other walls. Part of the old fabric is located on the western wall.

The ceiling of the living room decorates an oval ceiling, allegorically depicting the morning, running the night (unknown French artist of the XVIII century). Earlier, the ceiling was painted by the artists by the brothers Alexei and Ivan Belski, but the painting was irretrievably died during the war.

In the partropeous living room, four works of J. B. Great are exhibited, including the "Girl sitting at the table" (1760s). Another noticeable exhibit of the room is the harp, made in London at the end of the 18th century, a branch of the French Master of Musical Instruments Sebastiana Erar.
Restored in 1964.

Sofa crowd of empress.

The sofa is framed by the project Y. Felten in 1770. Applying a gilded wood thread, Felten uses a geometric flat ornament, outlets, saving flowers garlands.
It is located in an expanded Rastrelli Rizalita Central, Petrovskaya Palace. However, about the separation of ElizAthetian time here is reminded here only covered with coupling panels of wall panels, windows and doors yes characteristic of most rooms of the middle of the XVIII century drawing Parquet "Zigzag".
Basically, the appearance of this interior was formed in 1770, when architect Yu.M. Felten rebuilt for Catherine II front bedroom, creating a complex of two rooms with the help of wooden partitions - the empress and corona.
The main architectural accent, determining the appearance of the room, the architect suffered a partition with alkoven niche, where the front bed was once installed.
Being a master of the period of the formation of classicism, Felten, student F.-B. Rastrelli, although it also applies wooden gold-plated threads here, however, along with the fancy bending stylized gold escapes on the white and pinkish field, uses geometrically disconnected flat ornament, calm round outlets, saving as if under their own weight of the garland of colors.

A special sophistication of the composition gives ribbons in vertically-oriented ribbons with bouquets of flowers and shoots of Lavra The construction period is greater comfort of residential interior, and primarily intimate premises.
The selection of the embeltory from the abstracts will require significant rearrangements and redevelopment. Felten suggested a different solution by using the location of the footberry in the risatite of the building.
In 1779, a wooden "Turkish partition" was installed from the door to the door to the door across the room. It was made of alder and linden stoold vehicles and equipment under the guidance of a free carpentry Master of Vecher.
The front bed in alkonna niche disappears, and the western wall has a wide and low "Turkish" sofa "with an attack."
According to legend, he was sent by Catherine II Potemkin from the front of the Russian-Turkish war.
There was a fashion for similar sofas, and in many palaces of St. Petersburg, "Sofa in Turkish taste" appeared. From that time, the room was called a sofa.
Walls of the sofa upholstery "Chinese Matter Silk with different figures."
The plot of painting is ordinary everyday scenes. People calmly talk in small houses, go on fishing, watch the performance of the street trainer, hunt, buy decorative bedroom flowers at the merchant, etc.

As a precious relics persist in a sofa modest egg-shaped porcelain vase. It is decorated with a thinly performed blue under-ferry cobalt painting.
Pens - in the form of beams of aqueous plant leaves with a bearded old man mascar.
On the vase, tiny images of a double-headed eagle and a mug with an arrow.
So methyl products the Great Russian Ceramist, friend M.V. Lomonosov Dmitry Ivanovich Vinogradov. He belongs to the honor of creating the first products from the domestic porcelain in 1748.
B There is only two plants in Europe - Maissen under Dresden and Viennese - made porcelain products. The method of their production was kept in the strictest mystery.
DI. Vinogradov after many studies amounted to its recipe for the manufacture of ceramic mass. With its direct participation, the first products were released at the St. Petersburg Imperial Porcelain Factory, founded in 1744.
Vase in the sofa is made in the middle of the XVIII century.
Two decades later at the same St. Petersburg plant made on the model of the sculptor J.-D. Razushatta amazing in high artistic and technological perfection figure of a dog lying on a green pillow.

Along with ceramics in the XVIII century, Russian glass production is successfully developed. The St. Petersburg glass plant in the quality of glass and especially crystal was not inferior to the best plants in Europe. Russian masters were famous for the production of crystal lighting devices.
In the sofa, you can see a crystal chandelier with a ridge of ruby \u200b\u200bglass of the late XVIII century, and on the table at the mirror - magnificent Zhilandoli of the 1760s.
On the table in the center of the room there is a coffee appliance for two faces. It was made at the Vienna Porcelain factory, as the legend says, for the grandchildren of Catherine II Alexander and Konstantin.
Over the sofa is a portrait of Elizabeth Petrovna Kid - a copy with a portrait of the work of Louis Caravaca. Louis Karavak arrived in Russia at the invitation of Peter I and lived here for many years, up to his death. He depicted the daughter of Peter I nude, lying on a poverty companion in Porfire. In his right hand, she holds a medallion with a portrait of a father. Although this image was quite bold for his time, the portrait enjoyed a big success and was repeated several times as the Karavak himself and modern artists. Portrait in the sofa was written by Buchhol.
In the sofa, there is a furniture set of French work furniture inherent in the second half of the XVIII century, the inherent Germany dresser of the middle of the same century with the fancy manifesting walls (such dressers called the "bomb") and recreated by restorers by photography a mirror in a carved goxed frame.
Walls upholstered by Chinese silk of the XVIII century, restored and supplemented by A. Vasilyeva

Restored in 1964. On the carpet there is a porcelain statuette of the beloved leville of Empress Catherine II Zemira.

Toilet

Toilet with a fried dressing table near the window going to the Chinese kindergarten.
But, perhaps, most attracts the fact that the walls are trimmed with a matte green cloth - one of the eclectic techniques - and on top it converges with folds, creating a feeling of sunlight.
Shelk, decorating the walls of this room, an outcurrent in the middle of the XIX century according to the drawing of P. Door, which is reproducing the Fabric of the XVIII century. On the walls, parade portraits. Gilding carving is recreated under the leadership of A. Semenova on the models of N. Oda.

Soapy room

The largest room is soap, adjacent to the toilet and located in the central part of the building. In the midst of it installed a cold bath with leaving at the bottom steps, so that it was possible to stand in full.
From the ceiling, the chandelier is descended, seized with glass vines and bindweed - the favorite flower of the empress. Its peculiarity was that water was served on the tube (electricity in those poles were not yet common) and joined the cold shower.
According to the techniques of the then doctors, the patient was necessary to wrap in a towel, and then, at the beginning of the sweating, wash first in a cold bath, then in a hot tub (a hot tub is in the next room - Batholna).
But back to soap. Opposite the bath, on the back wall, hangs the mirror framed by the porcelain colors of the work of German masters. But the porcelain table established below proves that and our Russians can do no worse.
And one more wonder: in the corner there is a wardrobe with paintings written on ... Porcelain, in order to constant humidity did not spoil them. We will pass the bathroom, and we will fall into the bath, where the cast iron kernels are laid instead of the traditional heater, the attraction, which came to Russia since the days of the Northern War, when Petrovsky soldiers were with reservoir.
After all, it is customary to splash on the hot stones, and the boulder can split, and the granite baby is very undesirable for weak lungs of the Empress.
Unfortunately, photographs of the soap room could not be found

Cabinet Empress

Cabinet Empress

The name of the room did not mean that his hostess regularly engaged in state affairs here. Often, here looked only here, so that in a close circle of the approximate to play a game in the card.
Before the Great Patriotic War, the Cabinet maintained a gilded wooden thread, silk drapery, a typical parquet, which appeared here in the 1950s - 60s of the XVIII century.

In the summer of 1849, Peterhof was delivered, and the next year installed in the office of the Empress "Porcelain Fireplace written flowers and fruits decoration on the pink ground with gold." A huge mirror in the porcelain frame was placed on the fireplace shield.
Candelabra, fireplace and table were also performed from the porcelain.
These wonderful products of the Imperial Porcelain Factory, like all the details of the finish, were killed in 1941.

Special charm gives the cabinet wonderful in drawing of silk. He appeared here, probably in the XVIII century. In 1818 he was changed raspberry talph with flowers and birds.
But soon the walls of the cabinet again decorated white atlas with bouquets and baskets.
The cabinet reproduced the decoration of the second half of the XVIII century, the time of the Board of Catherine II and the hobbies of the ideas of French enlighteners.
In the corners of the room - busts of Rousseau and Voltaire.
On the walls - the front portraits of the reigning persons. Catherine is represented in a parade suit. With the right hand, she points to a written table, where the books and manuscripts were scattered, which was to testify to the permanent concerns of the "enlightened monarch". Portrait of Elizabeth Petrovna works of an unknown Russian artist in the middle of the XVIII century - the direct opposite of the previous one. Elizabeth is conveniently sits in a throne chair, carefree expression Her faces, on the lips of a welcoming halfupcoon.
Almost playfully holds the scepter in his right hand.
On the western wall, the portrait of the son of Catherine II, Paul I, a copy from the work of the artist J.L. Voila, and his wife Maria Fedorovna.
One of the favorite landscape players of the second half of the XVIII century, whose canvas are willing to be ready for Russian palaces, there was a German painter who constantly lived in Italy, Jacob Philip Hakkert. His picture "The kind of grotty Neptune in Tivoli near Rome" is located on the eastern wall.
In the center of the cabinet there is a round table of mahogany with a marble board. This is an extremely rare example of the Masters of Mark David Cooler, who lived in the small French town of Montbellar on the border with Switzerland. M.-D.Kulery worked, mainly with a black tree; Furniture made from mahogany - piece specimens.

Big blue living room

The blue living room in the middle of the XVIII century was called the dining room. The upholstery of the walls has repeatedly changed. The Blue Sprayer, who gave the new name, is first mentioned in 1876. Currently, the walls are decorated with silk, made according to the sample of 1897.
Until 1941, the pictorial holy artist L. Doricksky (1753) remained here. Paduga is recreated by the artist L. Lyubimov in 1980. The living room decorate the front portraits of Catherine II and the wife of Paul I Maria Fedorovna - copies of the artists of the XVIII century with portraits of D. Levitsky and L. Vizh-Lebrés. The interior complements the furnace with the so-called "landscaped" tiles.

This room in a number of parade premises of the Palace takes it in the eastern part of it the same position as the Chesme hall in the western end of Anfilad.
The living room has a window on which the axis of the Palace's Paradinary Anflades is oriented.

In the blue living room there is a set of "cabbage leaves", ordered at one time by Nikolay I at the Etrury factory at the famous meshwood specifically for the Big Peterhof Palace. In total, there were about 5570 items in this service. They began to be manufactured in June 1848 and ended in September 1853. At the beginning of the war, most of the service was evacuated. The remaining part of the Nazis cleared. When the liberation of one of the cities of Eastern Prussia, Soviet soldiers found boxes with tea devices on which the inventory rooms of the Peterhof Palace were stood.
Saved things were carefully sent to their homeland and now again occupy a place in the museum exposition. The decoration of the table is complemented by vases and leads from lead crystal with a diamond grunger of Russian work of the 20s of the XIX century

Four large candelars with dolphins figures brought from Saxony in the second half of the XIX century, decorated the blue living room to the war.
The eastern wall has two cabinets, richly decorated with bronze, outstanding French bronze machine in the middle of the XIX century. Ferdinand Barbined.
Sofa and French work chairs of the end of the XVIII century. From the picturesque cloths, the main portrait of Catherine II - a copy from the portrait of the work of D.G. Levitsky - and portrait of Maria Fedorovna, Pavla I wives, trendy brush at the end of the XVIII century. French artist Vijle Lebrene. Excellent accessories are discharged, the texture of the fabrics on dresses and drapes has been designed. With the help of the allegory language, the advantages of the empress are glorified. These are typical samples of official front portraits.
To the right of the fireplace - the portrait of the Grand Duke Peter Fedorovich, the future of Emperor Peter III.

Oak Cabinet

Oak Cabinet - the oldest interior of the palace; His finish was performed in the first quarter of the XVIII century. In the office of the emperor, the decisive material of the art decoration is OUC. Oak shields completely cover the walls, giving the interior amazing warmth and cozy. The walls of the cabinet from the floor to the ceiling are covered with wooden shields, and if the wall niza panels are smooth, then the fililenies stretched vertically are placed on them, completely covered with unusually elegant carvings. The carving covers both doors, desustemports, panels over mirrors and a fireplace.

This interior solution made a strong impression. Burhgolts, who visited here in 1721, made the following entry in his "diary": "It is remarkable especially the office, where there is a small library of the king, consisting of different Dutch and Russian books; He is decorated with one French sculptor and has its excellent carved decorations. " This "sculptor" was Nicolas Pinot, an outstanding master who came to Russia in August 1716. His art was highly appreciated by contemporaries. The unsurpassed decorator Pinot himself painted sketches for future his work. It is evidenced by the album stored in the State Hermitage. Among the many projects Here there are pictures of Pinot for the fillets of the Oak Cabinet of the Grand Palace. Some of them were almost unchanged in a wooden thread, the composition of others during the work was significantly modified.

To the oak cabinet associated with the name Peter I, has long been treated as one of the relics. Therefore, it was considered that the interior of the cabinet did not undergo from the moment it was created by any changes. In fact, it turned out that the case was different. In the middle of the XVIII century, when expanding the palace on the project of Rastrelli in the eastern wall of the oak office on the site of the window penette the doorway. Then the oven disappears with a small side fireplace on the northern wall and, in return, the marble fireplace with a mirror in the carved frame is constructed. Following this, one of the doors symmetrically located on the northern wall corresponding to the existing one is eliminated. These alterations are forced to complement the number of panels two more. At the same time, the location of them on the walls was broken. And now about the plan of Leblon and Pino can only guess.

Two panels, originally located, most likely, on the southern wall in a simplest window between windows, and now placed in the south-western and southeast angles, were to symbolic form to glorify Peter I and his spouse. Sketches for these panels are preserved at the Museum of Decorative Arts in Paris. In the embodiment of these sketches in the N. Pinot tree made some changes. On one panel, surrounded by a globe, navigation and astronomical instruments is a man in ancient clothes. He is decorated with a laurel wreath - a symbol of glory. Below, on the background of the pipe and lira, a scroll with the inscription: "La Vertus Supreme Du Pierre Premier Empereur de La Grande Russia" (the highest virtue of Peter I Emperor of the Great Russia). On the panel in the southeast corner of the room in the central medallion depicted Minerva - Goddess Wisdom. File field decorated with symbols of sculpture, painting, architecture, music and trade. Two panels on the southern and one on the eastern wall are filled with the symbols of military and sea power: swords, helmets, shields, battle toporists, Neptune's tridents, etc. before the war The same sealer was preserved on the northern wall.

There is a completely different content of two panels to the right of the fireplace. On ribbons with brushes, as it were, various brass, string and percussion instruments are suspended. Here, bagps, violins, kastagnes, triangles, etc. On the disclosed notebooks, records of the melodies of the beginning of the XVIII century were reproduced. In general, the diverse and magnificent thread of the oak cabinet was a unique ensemble in the symbolic form characteristic of that time, glorifying the flourishing of science, culture, trade and military power of new Russia and its converter Peter I. The office has long been preserved, the things related to the founder of Peterhof . Now at the Bureau between the windows, its hiking clock-an alarm clock, performed by the Augsburg Master Johannes Benner. Such hours embedded in a leather case with glass took on the road. Such hours often had only one watch arrow. The western wall on the table - the office of Italian work of the end of the XVII century, made of black wood and bronze with inserts from a lapisite, jasper and various marbles. Chairs and chairs of the first third of the XVIII century with wicker seats have long been in this room.

Standard

The standard was decorated on the project F.-B. Rastrelli with gilded wood thread, the walls are tightened with silk. The fabric has changed repeatedly. From the middle of the XIX century, this is the "blackwood background with a lilac divorce" under the color of the imperial standard (at that time the highlights of the Guards regiments were kept in the room, hence the name). Currently, the walls and furniture are covered with silk, made on the pattern of fabric from the Peterhof's own cottage of the work of the Moscow Manufactory of I. Kondrashov of the 1840s. The fabric is recreated by Moscow masters under the leadership of A. Feigina

Cavalier

Here was a guard of Kavaleargards, the cavaliers of the Russian orders were made, the receptions of officers of the Guards Regions were arranged. The walls are tightened with raspberry ton, made on the Moscow Manufactory of F. Korovin at the end of the XIX century. Silk was recreated in 1974. In the cavalier is one of the tile furnaces of the Grand Palace, which is a true work of art. The furnace was restored under the leadership of V. Zhigunov. The decoration of the interior is complemented by paintings, among which the web of the school P. Rubens "Apotheosis of War"

Secretarian

The interior was created by the project F.-B. Rastrelli in the middle of the XVIII century. The main element decorative silk slope, which is tightened by the wall, is recreated by sample of the XVIII century. White panels and doors were decorated with gilded rectangular traction, carved images of birds, floral ornaments. In the secretarial is one of the tiled stoves of the Grand Palace. Recreated under the leadership of V. Zhigunov. Parquet floors, as elsewhere in some rooms (partial, sofa and blue living rooms, a crown, blue reception, the oak office of Peter I) laid out the drawing of Zigzag. On the walls of the "Country Palace" walls of the work of the Dutch artist Ya. Van Den Strathn (1701) and the "mountain landscape" of the unknown Italian artist of the XVIII century.

Crown

In 1769-1770, the project of Yu. Felten is created a parade crowd.
From the end of the XVIII century, the room began to be called the crown (a special "stamp" for the crown was installed in the room).
In September 1941, all the decoration, with the exception of Silka's shot from the walls, died. Crown recreated by the project E. Kazanskaya and V. Savkova.
The room decorates the ceiling "Venus and Adonis" work of the unknown Italian artist of the XVIII century.
The walls are tightened with painted watercolor Chinese felt of the late XVII - early XVIII century, on which the process of production of porcelain is depicted in detail. The fabric was restored by A. Vasilyeva.

Restored in 1964, along with the picture room, as well as the partrope and the sofa living room was among the first recreated halls of the Grand Palace.

Church building

The church corps is part of the architectural ensemble of the Grand Peterhof Palace, built on the Rastrelli project in the XVIII century. During the Great Patriotic War, the church building was destroyed. In 1952-1958, the facades of the church corps were recreated, but the dome was one for a long time, five-chain was restored only at the beginning of the XXI century. The central dome of the five-chapter church corps is crowned with an Orthodox cross raised to a height of 27 m.

The church corps of the Bolshoi Peterhof Palace baptized four of the five children of the last Russian emperor Nikolai II - all children, except the eldest, Olga, were born in Peterhof.

The recreation of the church corps began in 2001 and continued until 2005. At this time, the external decoration of the body was recreated. Until the end of April 2011, it is planned to fulfill the entire complex of work on the reconstruction of the internal decoration of the church, a carved gold-coated iconostasis, a stucco decor, carved jewelry, dumb and scenic work.

Collection of materials and research analogs to restore painting were launched back in 2005, an appropriate historical certificate was prepared. The work is quite complicated, especially difficult for modern artists to recreate the technique of masters of the second half of the XVIII century.

Coat of arms

Symmetrically located in relation to the central part of the Palace, the stamp and church corps are gilded figured dome, topped with lanterns and bulbs. The verge of domes, lanterns and bulbs are decorated with gilded garlands of palm leaves.

The dome of the coat of arms is completed with a rotating vane in the form of a three-headed eagle with open wings, a power and a squeezer in the paws. When looking at either side, the eagle is perceived as a double-headed and whatever boot over the palace.

Special pantry

It is also worth mentioning about the special storeroom "corps under the coat" of the Bolshoi Peterhof Palace. Under such strange title A museum of unusual is hidden, you can say intimate things Russian kings - things that have had greater value for them. Photos, unfortunately, failed to find, but not write about the special storeroom it would be unforgivable)

The premises of the middle of the nineteenth century were recreated by the restorers. The set floors, as Rastrelli conceived, are similar to the fact that the big palace is decorated. Three interior rooms are presented the most valuable exhibits. Here you can see the costume of Peter I, dresses of the court ladies. Costumes from the wardrobe Potemkin suffered from time to time, changed more than once. They were kept in the treasury, then handed over the theater department. It is difficult to believe, but even the harness of the horse Catherine II is perfectly preserved, on which she defended the right to the throne. Only velvet beat a little. Against the background of luxury interiors, two thrones are especially good. They fell into Peterhof from the Moscow Kremlin. The Russian emperors crowned on the historical thrones (for example, the wife of Nicholas II squeezed on the throne of Ivan the Terrible), but for solemn receptions, a new throne was ordered to each coronation. A luxurious throne of Nicholas II suffered from the Big Palace to the corps under the coat of arms. The passage on it had to be replaced, but the old embroidery was transferred to it. In special shop windows with cold light, coronating and premium things are shining, imperial family jewels, porcelain, fuel, tobacker. Cabinet, Exchange and Toilet - Catherine Residential Apartments. It was recreated by the interior of her era: a written table, portraits, bed, samovar, even a clockwork bird. In the toilet - the mirror in a silver frame of the work of the French master, Jeweler Louis XV. Starting from Catherine, all Russian Empress looked at him.

Intimate things Russian kings

Fan love
Fan is the detail of the female toilet, which in all centuries acted on the ladies fascinatingly. For example, a fan, presented by French diplomats, the wife of the Grand Duke Konstantin Nikolayevich was made of pearl and paper depicting a scene of a french delegation with a great prince. But Catherine second belonged to a very simple bone fan, covered with a cloth. But with a remarkable drawing - travels on an imaginary love country.

Feather of freedom
Among the personal belongings, Alexander the Second, it is worth paying attention to the baptized gilded casket and a unique bilateral portrait of the future emperor. But the most expensive thing of the collection is the usual pen, which in 1861 Alexander signed a decree on the abolition of serfdom.

Saddle of power
Catherine The second rushed to the throne due to the support of his favorite Orlov and the Imperial Guardsmen. All knowing the riding portrait of the future empress in the guards costume of green cloth. It also presents the most embroidered saddle with all the groove, from which Catherine literally did not get off during the palace coup.

Inkwell war
A massive silver written device with four legs in the form of sphinxes, decorated with swan with stretched wings. This device, according to legend, Alexander first brought with him to negotiate in Paris during the Russian-French Wars. After the death of Alexander, his mother Maria Fedorovna was used by the device, and after he taught him his second son - the emperor Nicholas first.

Samovar Azart.
Experts claim that Catherine Great was a big lover of cards. On the playing table, the so-called "Shakespearean" maps of 1787 issues belonged to the Empress are crushed. Even the nominal silver samovar on the bedside table of Catherine and is painted with cardas.

Treasure Boudarov
The exhibition is widely represented toiletries and jewels, adorned by the future of Empress: tobacker, bottles, jars, silver mirrors, diamond brooches and pearl earrings. Especially affecting the Freilin brooch, covered with diamonds, which belonged to one of Mary Fedorovna, with a monogramm of the Empress.

Clock of the end of autocracy
A separate hall is occupied by products made for the family of Nikolai, the second famous Jeweler Faberge and his students. The clock and magnifier, decorated the emperor's office, a tree with Easter eggs, one of which is made of a solid 18-carat emerald. Here is the huge silver work cup of Faberge, which Nikolai second independently awarded the winner of annual yacht competitions in Peterhof.

In July 2009, Teo Faberge, the grandson of the famous Karl Faberge, tested Peterhof two Easter eggs. We are talking about memorable jewelry: "300th anniversary of St. Petersburg" and "Samson". Easter egg "300th anniversary of St. Petersburg" (marble, crystal, silver, gilding, engraving) was made in 2003 and alternately exhibited in Peterhof, Gatchina, Museum of the History of St. Petersburg, Pavlovsk and Tsarskoye Selo. Samson is a silver egg covered with a dark blue guilloche enamel. Inside there is a gold figure of Samson, tearing the mouth of the lion.

And architectural dominant of the entire palace-park complex. In the XVII - XIX centuries, the Big Palace was a parade residence of the Russian kings, where important events took place, holidays and receptions, balls and masquerades were held.

Currently, the Great Palace is a unique historical and art museum, in the collection of which about three and a half thousand exhibits were collected, among which painting and porcelain, fabrics and unique furniture, as well as personal belonging of Russian rulers.

Grand Palace in Peterhof - Description

The majestic building is highlighted by several bulk parts, the largest of which is the average three-storey part associated with non-strokes of single-storey gallery with two-storey filties: in the eastern part is the church corps and in Western - the "under the coat of arms".

The North Facade, facing the sea and the large Cascade runs along the edge of the park terrace and stretched 268 meters. FROM south side The large palace is constructed in the form of a wide letter "P" formed by its middle part and adjacent two three-storey buildings.

The finish of the facades of the building painted in bright yellow color is distinguished by restraint, there is nothing superfluous in it. For decoration, elements characteristic of the Baroque architecture are used: lush cartoons over window openings, bas-reliefs in the front alone and forged patterned balcony grids, white rustles and pilasters.

In the center of the roof - the golden vase of a complex configuration. The expressiveness of the building is attached to the dome of the bulk attack - the church corps with five gilded chapters and the housing under the coat of arms, topped with a dome with a gilded coat of arms.

Monumental view of the building has about 30 rooms.

The entrance for guests was arranged in the western part of the building, where the front staircase created by Rastrelli was located in 1751. As decorations of the front staircase, gilded statues and carved bouquets, karyatids and rokyli are used, that is, in the style of Rococo, the Cartouche.

Through the passing rooms, you can go into the blue reception room, which performed the role of the secretary room, in which a sub-journal was located, where all events in the life of the palace were recorded. Western doors of the blue receptionist lead in the stamp case.

On the front stairs, guests took place in the enfilad, that is, in the end-to-end heads of official destination:

• Chesmensky Hall is a waiting room located in front of the throne room, here officials were waiting for the start of reception. The main decoration of the hall is the paintings performed by the German artist Hakket, depicting the most dramatic episodes of Chesmensky battle, in which the Russian fleet led by Count Alexei Orlov won over the Turkish fleet
• The throne room is the most spacious, intended for receptions, balls and concerts room with an area of \u200b\u200b330 square meters. meters. Initially, this hall sparkled with its magnificence, but in 1777 on the project of Yuri Felten he was decorated in a classic style
• The audience hall was intended for small techniques of Empress Elizabeth. His registration was performed by Rastrelli and became one of best work architect
• The dance hall in the XVIII century was called merchant, its spacious room with an area of \u200b\u200b270 square meters. M occupied most of the western half of the Grand Palace. The windows are located in two tiers, a carving of gilding, paintings and numerous mirrors were used as decorations. Parquet is made of light and dark oak, maple and nut. According to legend, Elizaveta Petrovna ordered Rastrelli to arrange a hazelney hall: "It's as many as possible ...", since these apartments have served to receive noble representatives of merchants, who loved, according to Empress, Gold
• The white dining room was intended for solemn lunches and originally embedded Bartolomeo Rastrelli. In 1774 - 1775, Yuri Felten significantly changed the hall - his finish became the exact opposite of the previous one. Instead of shine gilding and light mirrors, the interior was decorated in strict canons of classicism. In the center of the room is a huge table covered with a white tablecloth and served on 30 persons with a faienceset created by the famous English master Josayia Maddlewood
• The painted hall is the most old, it was decorated during Peter's life - the tapestries of French masters and 16 paintings of Italian artists are decorated. At that time it was the largest hall, in the finishing of which Nikolo Micketty and Jean Baptiste Leblon took part. In the middle of the XVIII century, the decoration of the hall was changed by the project B.F. Rastrelli.

Behind the officials of the official destination follow the front rooms of the private half, where only some close faces could pass. The bedrooms and personal offices, toilet and salons were located here, the finish of which was performed on the plan of Rastrelli. The abundance of gilding, mirrors and paintings, suspended "mirror" vaults with a floating painting and parquets from valuable wood, - all these details create an atmosphere of the holiday.

The Oak Cabinet Peter, decorated with oak carved panels, made by the French Master Nicolas Pinot. Among the personal items of the emperor, you can see his road hours of the German master Johann Benner.

From the history

• The first stage of the construction of the Grand Palace (then it was called the upper chambers) passed in 1714-1725 and at that time it was a modest royal palace in the style of "Petrovsky Baroque", in the creation of which architects Johann Brownshtein and Jean Baptiste Leblon, and then from 1719 Goal - Nikolo Micketty. The idea of \u200b\u200bthe location and initial appearance of the upper chambers belonged to Peter the first
• In 1725 - 1740, the decorative decoration of the building was completed, in 1732 the facade of the structure was increased by an extension on the sides of one-story residential buildings, made under the project Mikhail Zemtsov
• During the reign of Elizabeth, the daughter of Peter, the building was rebuilt on the sample of Versailles in the style of mature baroque. Work was conducted in 1740 - 1760 by the project Francesco Bartolomeo Rastrelli. The building, consistent with the middle part, galleries and side buildings, increased by side wings toward the top garden. In addition, on the project of Rastrelli, the elegant church and the stamp corps were erected. The unsurpassed master of a baroque style in the decoration of the halls used wooden gilded threads and set of parquets from valuable wood, many mirrors and picturesque ceilings on the ceilings. All this gave the structure additional solemnity and splendor. The upper chambers turned into a real big palace
• In subsequent years, new front halls were created, repair and alteration of interiors were carried out in the trendy style of classicism. Architects Yuri Felten and Jean Batiste Wallen-Delamot are decorated in 1760-1770 Chinese cabinets, Chesme and Throne Halls
• Since 1917, the big palace has become a historical and artistic museum
• During the Great Patriotic War, the museum building was practically destroyed, and most of the exhibits were abducted by the fascists
• In 1952, thanks to the work of historians, architects and restorers, a large palace, mainly restored. The first after repair opened a portrait hall, sightseeners visited him in 1964.

Mode of operation of the Big Palace Peterhof - Summer 2019

• Individual visitors are allowed from 12:00 to 14:30 and from 16:15 to 19:45. The rest of the time the tourist groups are served.
• Weekends - Monday and the last Tuesday of each month.
• A visit is carried out in the group. Groups from individual visitors are formed after purchasing a ticket at the checkout. Excursion in Russian is included in the ticket price.

The big palace is the center of the palace and park ensemble, is striking with its magnificence and richness of the decoration. More than 300 meters long and 3 floors. The large palace is located on the top of a 16-meter terrace on the shore of the Gulf of Finland.

Ticket price for a large palace Peterhof - Summer 2019

• For citizens of Russia
  • adults - 450 rubles.
  • children under 16 - free
  • schoolchildren (from 16 years old), students and pensioners - 300 rubles.
• For citizens of the CIS
  • adults - 450 rubles.
  • children under 16 - free
• For foreign citizens
  • adults - 1000 rubles.
  • children under 16 - free
• Amateur photo and video forbidden

Today, as in former times, the Grand Palace in Peterhof admires its magnificence. You will get acquainted with the art of the Russian palace interior of the XVIII - the beginning of the XIX centuries and you will see the baroque rooms created by Rastrelli, adjacent to the solemn apartments of the period of classicism and rooms with rococo style items.