Oranienbaum Chinese pavilion. Chinese Palace in Oranienbaum. When can you visit the palace?

During the time of Peter I, the court servant (the first governor-general of St. Petersburg) Menshikov built a Chinese palace in a town with interesting name"Oranienbaum". It is still unknown what motives prompted it to be called “orange tree” (from germ. “Oranienbaum” - orange or bitter orange tree). Currently the palace is part palace and park ensemble and is included in the list of objects cultural heritage UNESCO.

Story

The first mention of Orienbaum dates back to 1710, when A.D. Menshikov decided to build a palace with a park near Kronstadt on the territory of the modern town of Lomonosov (a suburb of St. Petersburg).

The architectural project was conceived as a ceremonial residence by the sea, welcoming its guests with a beautiful panoramic view.
On the land donated by Peter with the Karasta River flowing into the bay, the main architects of the estate, Schedel and Gottfried, begin work.

Later the property passed into the use of Peter III. The “amusing” fortress of Peterstadt is being built on the territory of the park.
After the palace coup in 1762, Catherine II built her own dacha in the Rococo style on the territory of the estate. The addition of the ensemble is the Chinese palace. This name was given to it due to the chinoiserie (Chinese architecture) style that was fashionable at that time.

The architect of the building is Antonio Rinaldi. The territory of the palace is being developed as a summer house for entertainment. After the revolution, Catherine herself explained her thoughts as follows: “I had the fantasy of planting a garden for myself in Oranienbaum... I began to draw plans and lay out the garden, and since this was the first time I was involved in plans and buildings, everything turned out huge and awkward for me. Oranienbaum gardener Lamberti helped me lay out the garden."

The main work was completed in 1775. The palace was decorated with the Rolling Hill and the Stone Hall, which became a kind of court attraction.

In 1831, the 4th youngest grandson of Catherine II, Mikhail Pavlovich, became the owner of the estate.

At the end of the 18th - beginning of the 19th century, internal restoration was carried out under the leadership of Preuss and Ruska (replacement of floors and reconstruction of walls).

In the middle of the 19th century, the southern part of the facade was framed by a second floor according to the design of Stackenschneider and Bonstedt. On the ground floor there is a glazed gallery and anti-cameras on the sides.

In 1925 Chinese Palace being converted into a museum. In 1935, the museum became a sensitive object of cultural heritage of the USSR, and it was practically impossible to enter its territory. During the war, the facility was guarded by the Kalinin rifle division under the leadership of Safonov. All valuables are evacuated to Novosibirsk, Sarapul and Leningrad ( Saint Isaac's Cathedral). The palace is partially destroyed by a German shell hitting a window on the 2nd floor, the windows are broken and the army is trying to save the remains of the property.
The museum resumed operation in 1946 and welcomes guests with its doors open.

In subsequent years, the building is constantly being restored. In 2007, 4 new halls were opened to guests. By 2023, they plan to completely restore the museum.

Halls of the palace

Despite the fact that the palace is made in Chinese style, the interior is replete with European decor. The decoration of the halls is complemented by paintings and massive sculptures. All this fits perfectly with the overall composition: ornamental molding, wall painting, gilding, carvings, exquisite parquet and cladding.

Front

The front (southern facade) used to be the vestibule at the entrance to the palace. Has the shape of a square. Its walls are decorated with oil painted canvases. In the old days, in their place there were works by the Italian artist Torelli. On the walls adjacent to the entrance there is an ornamental painting by Borozzi, made in the form of bunches of greenery and flowers.

The final note of the design is the stucco ceiling and inlaid parquet flooring with a pattern repeating a similar one from the reign of Catherine II. The interior is complemented by two carved gilded tables.

Wardrobe

The dressing room was initially used for its intended purpose. It is located immediately behind the Front and connects southern part with a main entrance. On the walls you can see two panels made in the genre of mythology. Despite the fact that the author is unknown, they are still called “Venus and Mars” and “Hercules and Omphale.” The hall also has a fireplace, the walls above which are decorated with carvings and gilded stucco.

The parquet pattern has not survived to this day; now the floor is decorated with a geometric pattern. The ceilings (hollows) are made in the grisaille style.

Pink living room

The hall got its name from the color of the canvases that replaced the former wall paintings from 1894. This was once the children's room of Paul, the son of Catherine II. In 1767, the playroom was painted by Barozzi on the theme of the Roman ruins of Herculaneum. Now copies and originals of the ruler’s portraits hang on the walls of the hall.

Damask bedchamber

The front bedroom received this name because of the pale green shade of the damask on the walls. The pattern of the damask itself resembles twisted silvered lines with flowers of various shades. The furniture and fireplace are also covered in a similar type of fabric.

One part of the bedroom (alcove) has a portrait of Paul as a child and military paraphernalia of the Catherine era. In another part of the room there are masterpieces of handicraft - chenille embroidery and bugle beads on straw. They are made by Russian craftswomen in the French style. There you can also see pictures of everyday life in nature, framed in wooden frames with gold appliqué.

Boudoir

Previously, on the site of the boudoir there was a Picturesque Study. Its walls were completely covered with paintings (on canvas). Now the room is decorated with carved panels with paintings by Rinaldi (in walnut). There you can also see paintings by Jacopo Guarana with simple titles “Painting”, “Music”, “Drama”.

Pavel's office

This is a small room that was used as a bathroom in the 19th and 20th centuries. Now the walls of the office are decorated with paintings on canvas. There are small paintings with landscapes and hieroglyphs, decorated in fancy frames. The ceiling in the form of a hemisphere seems unusual.

Hall of Muses

It is the best creation of the palace. It opens up the enfilade of all the other halls. When creating the interior, it was planned to tell about the community of arts. The room has an oval shape with many large windows around the perimeter. That is why in the 18th century it was called the Picturesque Gallery.

Initially, the hall got its name because of the 9 muses painted on the walls of the room: Calliope, Urania, Terpsichore, Euterpe, Clio, Thalia, Melpomene, Polyhymnia, Erato. All the muses are depicted in the walls between the windows and framed in stucco ornaments. The marble statues of Cleopatra, Lucretia, as well as the composition “Boy on a Dolphin” are also of interest.

Blue living room

Until the 1860s The walls of the hall were decorated with blue silk fabric. That's why it got the name Blue. Later, the dilapidated fabric was replaced with canvases by Beideman, Albani, and Van Dyck. These were mostly copies of Hermitage paintings. For example, "Madonna with the Partridges", "The Rape of Europa". To date, only part of the decoration of the hall has been preserved.

Glass bead cabinet

It is the most famous hall in the palace and has retained its original decoration in its original form, as it was under Catherine.
The room is equipped with 12 glass bead canvases. The glass beads themselves were made at a mosaic factory near Oranienbaum in the town of Ust-Ruditsa.

The paintings depict fantastic birds, butterflies and plants. They were embroidered by Russian gold seamstresses under the direction of the French actress at the Russian court, Maria de Chelles (Chen). The author was the same beloved by Catherine Barozzo. Together with the elegant design of the walls, ceilings and floors, the cabinet is considered a unique creation of that era.

Big hall

The Great Hall was conceived by Catherine as the center of the palace. Despite the fact that it was intended for holding various balls and receiving guests, its decoration was made in a strict form. Sometimes it is also called Round, because. it has an oval shape. The walls are treated with decorative marble of various shades; marble columns complete the interior.

Here you can also find bas-relief images of Peter I and Elizabeth Petrovna. The work was carried out by Falcone’s student, commissioned by Ekaterina Kollo M.A. The hall has a large fireplace, above which there are 2 panels “The Rape of Ganymede” and “Juno” by Torelli. Above the front door hangs a painting by an unknown Italian artist called “Selena and Endymion.”

The ceiling is entirely made of stucco decoration. This is an interweaving of branches, garlands of flowers, miniature wreaths and even birds.

Plaster rest

The plasterwork is entirely in Rococo style. Its walls are painted lilac, which is why it is also called the Lilac Living Room. There is also gilded molding on the walls and ceiling, hence the name "plaster", lavishly decorated. The interior is complemented by paintings on a love theme. The ceiling has the shape of a dome vault (ellipse).

Visiting information

• Opening hours: summer period from May 26 to September 30;
• Excursion times: from 10:30 to 18:00 (except for individual);
• Closed: Monday and last Tuesday of every month;
• Ticket prices (2018): 200-500 rub. (free for children under 16 years old).

• The palace was built entirely under the leadership of the Italian architect Antonio Rinaldi, who was invited to Russia by Count K.G. Razumovsky. Subsequently, Russia became a second home and homeland for Rinaldi.
• In total, there are 17 rooms in the Chinese palace. Catherine's Study, Small and Large Chinese Study, Chinese Bedchamber, Cameroon Fern, Portrait Room, Dressing Room - complete the list of halls to visit.
• During the time of Catherine, the palace was also called the Dutch House. Initially, it was small in size and, due to the abundance of trees, bushes and flowers, appeared completely unexpectedly before the guests.
• All the sleeping rooms of Catherine II and Paul were never used for sleeping. Usually guests came to admire the luxury and design of her creation. In the reception rooms they danced, played cards and had fun. And they went to sleep in the Menshikov Palace, located nearby.
• To decorate the hall in Chinese style, we specially went to China and Japan to buy porcelain, paintings, furniture and materials. The palace is especially famous for its parquet floors, which were once replaced by marble. For these purposes, more than 20 species of wood were used, including boxwood, amaranth, ebony and brown wood, and Persian walnut. Externally, the palace does not resemble anything Chinese. In addition, this is the only palace in Russia in the Rococo style.
• Of particular interest in the interior of the palace are the lampshades located on the ceiling. However, these are not the lampshades that we are used to hearing about in modern world, and canvases designed by Venetian artists and craftsmen specifically for ceiling cladding commissioned by Catherine. Each of them has its own name, and the performance has more than once become the subject of controversy between guests and favorites (mythology, allegory, pastorals).

Among them the most famous are:

• Apollo and the Arts (Torelli),
• Judgment of Paris (Barozzi),
• Diana and Aurora (Dizziani),
• Mathematics (Dizziani),
• Urania Teaching a Young Man (Maggiotto)
• Time that steals Truth (unknown)
• Rest of Mars (Tiepolo),
• Day driving away Night (Torelli)
• Orpheus meeting the Sun (Tsuño).

Some tourists managed to see and even communicate with ghosts. The last owner of the palace was the Duke of Mecklenburg-Strelitz. He died on the eve of the Revolution, and his little daughter died a few months later. Since then, passers-by have often heard the sound of children's heels in the park.
Others see silhouettes of people dressed in ancient outfits and cocked hats, as well as ghostly transparent figures.

The Chinese Palace in Oranienbaum was the receiving residence of Catherine and her heirs. All the sketches and sketches of the queen became reality thanks to the adjustments and amendments of the Italian Antonio. The estate is of interest to tourists who are hunters of ideas from antiquity, as well as lovers of landscape gardening art.

The St. Peter's Fortress, built in the eastern part of the estate in 1757, was transformed into the Peterstadt Fortress two years later. In plan, the fortress was a fourteen-pointed star with four bastions, surrounded by earthen ramparts and ditches filled with water. The two-hectare fortress was supplemented complex system additional fortifications. The pond located near the northern front was called the "Pleasure Sea". Naval battles took place here with the participation of warships: the twelve-gun ship "Oranienbaum", the frigate "St. Andrew", the galleys "St. Catherine" and "Elizabeth".
On the territory of the fortress there was an arsenal, barracks for artillery, dragoon regiments and cuirassier trumpeters, houses for officers and regimental commanders, a guardhouse, sheds for horses and carriages, and an arsenal.
In Russia, the tradition of amusing battles and the construction of fortresses for military amusements of the heirs to the throne appeared under Peter I. The Semenovsky and Preobrazhensky regiments created by him played the role of amusing troops, and later became the main units of the guard.
Peter Fedorovich invited the regiments of the Duchy of Schleswig-Holstein, where he was from, to participate in military games.
From the notes of Catherine II it becomes clear that she had a negative attitude towards the invitation of the Holsteiners:

...the number of Holstein troops and adventurers who occupied officer positions there increased from year to year.

The soldiers of the Ingria Regiment said: “Now we have become the lackeys of these damned Germans.” The palace lackeys said: “We are forced to serve this peasant.” When I saw and found out what was happening, I firmly decided to stay as far away from this dangerous childish game as possible.

The number of the Holstein garrison reached 1,500 people. The construction of the Peterstadt fortress was led by the Holstein master Förster and lieutenant engineer Savely Sokolov. The fortress occupied two hectares.
On the territory of the fortress there was the palace of Peter III, intended for his relaxation after military activities.

For the first time in Russian architecture, a palace building appeared on the territory of a fortification, serving not military, but entertainment purposes.

The first floor of the palace was for service. Several ceremonial rooms have been preserved on the second floor. The palace was built by the architect Antonio Rinaldi.

There is a monkey on the armor. It is known that Pyotr Fedorovich had a monkey named Elizaveta Vorontsova, it is possible that this is her:

As expected, there should be a secret staircase in the fortress:

Peter III lived in this modest house until his arrest. Here on June 28, 1762, he signed an abdication of the throne, was arrested and taken to Ropsha, where he soon died of hemorrhoidal colic.

Over time, the wooden buildings of the fortress fell into disrepair and were dismantled at the end of the 18th century. Today, only the remains of earthen ramparts, a small palace and the main entrance gate have been preserved:

Fortress layout:

This is how Catherine II recalled life in Oranienbaum in her notes:

In general, I and all of us were disgusted with the boring life that we led in Oranienbaum, where there were five or six of us women who remained alone, face to face from morning to evening, while the men, for their part, reluctantly practiced the art of war .

This is the lifestyle that I led in Oranienbaum then. I got up at three o’clock in the morning, dressed myself from head to toe in a man’s dress; the old huntsman I had was already waiting for me with guns; on the seashore he had a fishing boat completely ready. We crossed the garden on foot, with a gun on our shoulder, and we sat down - he, I, the kicking dog and the fisherman who was taking us - into this shuttle, and I went to shoot ducks in the reeds bordering the sea on both sides of the Oranienbaum Canal, which goes two miles into the sea. We often went around this channel and therefore were sometimes in quite stormy weather on the open sea on this shuttle. The Grand Duke arrived an hour or two after us, because he always had to carry breakfast with him and who knows what else. If he met us, we set off together; if not, then each of us went and hunted separately. At ten o'clock, and sometimes later, I returned and dressed for dinner; After dinner I rested, and in the evening either the Grand Duke had music, or we went horseback riding.

For my rooms in this palace, I bought everything with my own money, in order to avoid any disputes and difficulties, for His Imperial Highness, although he was very extravagant in all his whims, was sparing of money on everything that concerned me, and was not at all generous; but since what I did for my rooms at my own expense served to decorate the house, he was very pleased with it.

I then decided to build a garden for myself in Oranienbaum and, since I knew that the Grand Duke would not give me a single piece of land for this, I asked the Golitsyn princes to sell or give me a space of one hundred fathoms of uncultivated and long-abandoned land that they had very close to Oranienbaum; since this piece of land belonged to eight or ten members of their family, they willingly gave it to me, without, however, receiving any income from it. I began to make plans on how to build and plant, and since this was my first venture in terms of planting and construction, it took on quite extensive dimensions.

The best thing about Oranienbaum is its own dacha, which Rinaldi built in 1762-1774 for Catherine II. His own dacha became the third palace and park ensemble (after the Menshikov Palace and the Lower Park; the Peterstadt fortress and the Petrovsky Park around it).
Having ascended the throne, Catherine II ordered that 10 thousand rubles be allocated for the construction of her own dacha and allowed A. Rinaldi to invite first-class Russian and Western European craftsmen. With their participation, according to the drawings and drawings of A. Rinaldi, the Chinese Palace, unrivaled in the beauty of its interiors, was built (1762-1768).

The name "Chinese Palace" was first mentioned in 1774 in the Chamber Fourier magazine. Before this, the palace was called the “Dutch little house” (the same as the Monplaisir Palace in Peterhof), “the little house in the Upper Garden”, “the little house”. The name “Chinese” arose because a number of the palace’s interiors (the Large and Small Chinese Cabinets) were decorated in the spirit of Chinese art or using original works of art from China and Japan.

Last year, the restored Glass Cabinet from the Chinese Palace was exhibited at the Hermitage http://www.hermitagemuseum.org/html_Ru/04/2010/hm4_1_263.html.
From the Hermitage website:

The most famous chamber of the Chinese Palace is the Glass Cabinet, which has preserved the original decoration of the 1760s. The walls of the room are decorated with glass bead panels. These are canvases on which bugle bead embroidery is done. The glass beads were made at a mosaic factory founded in the vicinity of Oranienbaum (in Ust-Ruditsa) by the Russian scientist M.V. Lomonosov. Against a background of bugles, complex compositions with images of fantastic birds in an equally fantastic landscape are embroidered in chenille (fleecy silk).
Initially, the floor in the Glass Beads Office was made of multi-colored smalts, also made at the Ust-Ruditsk factory, but by the middle of the 19th century it fell into disrepair and the smalts were replaced with type-setting parquet while maintaining the same pattern.
The Chinese Palace is the only monument of the Rococo style in Russia. Most of the interiors of the palace have retained the original decoration of the mid-18th century. Of particular value to it are the unique objects of decorative and applied art from China and Japan from the late 17th to mid-18th centuries, as well as the preserved and extant typesetting parquet flooring from the second third of the 18th century (made according to sketches by Antonio Rinaldi).

Above the pond, at the southern facade of the palace, there are marble and bronze statues of characters from ancient mythology - copies of ancient originals.

Pergola in the background:

We didn’t get to the Chinese Palace because there is no heating there, so it is closed for the winter. As a consolation, we were informed that now in the palace, in addition to the Glass Beads Room, only two halls are open. The rest are under restoration. During Soviet times, the palace was completely open. Although it was quite shabby, you could still see everything.

The Chinese Palace is located in the suburbs of St. Petersburg - the city of Lomonosov. This is incredible beautiful building is one of the main objects of the Oranienbaum palace and park ensemble.

Lomonosov enters the line Northern capital, from the city center to the destination is about 40 kilometers, so a day off is best for visiting the Chinese Palace and other tourist sites in Oranienbaum.

The Chinese Palace is located in the southwestern part of the park. The building was built in 1762-1768 by the famous Italian architect A. Rinaldi.

The distinctive features of the palace were the abundance of carvings, gilding, heavy stucco molding and complex decorative structures. Rinaldi used statues of famous figures and heroes of myths in the design of the building.

The architect placed the foundation of the palace on a granite terrace, raising the palace above the general relief. In front of the entrance there are small gardens surrounded by beautiful wrought-iron trellises.

The northern façade of the palace is decorated with statues and large windows rounded at the top. The bedroom of Empress Catherine II, who founded the Chinese Palace, is located on the second floor, the windows of the chambers overlook the lake.

The main distinguishing feature of the Chinese Palace is its preservation. The building has reached us unchanged, having suffered virtually no damage during the revolutionary and war years. During the siege, only one shell slightly destroyed the chambers on the top floor.

Tourists are interested in why the palace has such a name: it is not at all similar to Chinese buildings. In the 18th century, the chinoiserie style, which means “Chinese” in French, became widespread. Rinaldi was a supporter of this style, but he could not completely abandon Rococo. As a result, the palace became a combination of styles.

The main element interior decoration The palace began to have lampshades made by the artists D. Maggiotto, F. Zuno, G. Diziani. The lampshades give the palace a special elegance and festivity.

The most beautiful room in the building is the Hall of Music. The famous painter S. Torelli depicted nine Muses on the walls. On the ceiling there is an elegant stucco molding reminiscent of clouds. In the center of the composition is a large lampshade “The Triumph of Venus”, depicting the goddess of love surrounded by nymphs.

In the Glass Beads Cabinet, the decoration of the 1760s has been preserved almost in its original form. The walls are decorated with twelve huge glass bead panels in gold frames, combining into a single composition: a fairy-tale forest with firebirds. The best Russian gold seamstresses worked on the creation of the panel: the work took two years. The picturesque base for the glass beads was created by the artist S. Barozzi. The panel details were made at a factory in Ust-Ruditsa, a suburb of Oranienbaum.

IN Large office The main place is occupied by the ceiling “Union of Europe and Asia”. In addition, here you can see a panel made of pieces of precious wood, in a frame made of walrus bone. The artist S. Barozzi depicted scenes from the life of ordinary Chinese.

The portrait hall is decorated with twenty paintings by P. Rotary, harmoniously integrated into the palace interior.

Tourists should pay attention to the unique floors of the Chinese Palace. A group of talented carpenters produced incredibly beautiful parquet flooring according to Rinaldi's drawings.

The Chinese palace is absolutely unique: nowhere in the world can you find a building that so organically combines various styles of the 18th century with the original ideas of Russian, Italian and German masters.

Video:

The Chinese Palace, the pearl of the Oranienbaum palace and park ensemble, part of the Peterhof State Museum-Reserve, is the only surviving monument of architecture in the Rococo style in Russia. He is celebrating his 250th birthday, and the gift to the hero of the day was a multi-year restoration. This year, three halls were opened after restoration: the damask bedchamber, the boudoir and Pavel’s office.

The Chinese palace was erected in 1768 by order of Empress Catherine II and was a building for short-term recreation. The gardener Lamberti was invited to plan the park, and the Italian architect Antonio Rinaldi, the founder of the Rococo style and early classicism in Russia, who had recently arrived in St. Petersburg, was invited to design the palace.

Interest in China first arose in Rus' at the end of the 15th century, when merchants began to bring Far Eastern fabrics to Moscow. And by the middle of the 18th century, all more or less wealthy St. Petersburg houses were furnished with Chinese things. The royal court set the tone for this fashion for “chinoiserie”, the Chinese style. The Chinese Palace got its name from the decoration of some of the rooms. There was a large collection of Chinese decorative arts and Japanese porcelain.

Fragment of the southern facade. The sculpture “Cupid and Psyche” is a copy of an ancient original from the Capitoline Museum in Rome.
The facades of the palace are decorated with pilasters and semi-columns with Ionic capitals and garlands. On the southern façade there are two lovely gardens with marble sculptures and flowering flower beds. The palace is laid out in the shape of a “P” and has three enfilades: the Front Enfilade, sixty-five meters long, and two short residential ones, located perpendicular to it.
Over two centuries, due to changes in owners, the palace underwent a number of reconstructions, and a second floor was added. Until the 1917 revolution, Oranienbaum was the property of the Dukes of Mecklenburg-Strelitz.

The halls are decorated with picturesque panels, inlaid parquet floors, gilded carvings, embroideries and furniture inlaid with natural colored stones. The interiors with unique decorative decoration of the 18th century have been preserved. It is known that from 1765 to 1768, French merchants François Rembert and Billiot supplied the palace with furniture and bronze “in the latest taste” to furnish it. Famous artists Stefano Torelli, Giovanni Battista Tiepolo, brothers Serafino and Giuseppe Barozzi, sculptor Marie-Anne Collo, mosaic artist Giacomo Martigny and Russian craftsmen from the Peterhof Lapidary Factory were involved in decorating the interiors.

Glass bead cabinet. Mirror in a carved gilded frame
The main attractions of the palace are the glass cabinet and unique parquet floors. The walls of the office are decorated with 12 panels - these are canvases on which embroidery is made with glass beads and multi-colored fleecy silk - chenille. The palace's unique parquet floors are made of mahogany and ebony, amaranth, boxwood, Persian walnut, and maple. “A true miracle, full of wonders of the eighteenth century,” wrote Igor Grabar about the Chinese Palace.

Glass bead cabinet
In the 18th century, the glass bead cabinet was called the Mosaic Chamber. It had a floor made of smalt glass, made according to the recipe of M.V. Lomonosov at the neighboring Ust-Ruditsk factory. Due to dampness, it was not preserved and in the middle of the 19th century it was replaced with inlaid wooden parquet, repeating the pattern of the mosaic floor. The walls of the cabinet are divided by carved gilded frames in the form of trunks with leaves and flowers into separate panels with glass beads. There are twelve of them - ten on the walls and two desudeports. Depending on the lighting, the panels shimmer in lilac, pink, blue and silver shades. On top of the glass bead background, fantastic scenes with landscapes and birds are embroidered with special silk threads - chenille - a unique work of Russian goldsmiths under the direction of the Frenchwoman Marie de Chelles.

Hall of Muses
The picturesque decoration is by Stefano Torelli. Venus and the Graces are depicted on the ceiling, and Apollo with cupids and nine muses, personifying the arts, are depicted on the walls and arch.

Damask bedchamber
“We managed to return many original objects to the palace and reveal for viewing the paintings that were hidden under layers of paint,” Tatyana Syasina, curator of the Chinese Palace, shows the Shtofnaya bedchamber. “Although we purchased many items anew.” Inventories from the 18th century have not survived; they appeared only in the 20th century. But there are descriptions of things that were bought by the last owners of Oranienbaum - the Mecklenburg-Strelitzskys.

The damask of the 19th century has been preserved - the upholstery of the bedchamber was recreated based on its model. The mirror, the fireplace screen, and other original things were returned here. Friends of the museum donated porcelain vases produced by the Meissen manufactory - similar ones stood here 250 years ago. A lampshade by Maggiotto has been installed in its original place. On the wall panels under the windows, authentic paintings from the 18th century are revealed.

Wardrobe

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