Photo - Mary, 10.2015.
Catherine park .
Grand Palace
Ekaterininsky park, 1 - Sadovaya st., 9
Memory. arch. (feral.)
The first two-story stone palace
1718-1724 arch. Johann Braunstein
New palace
1743 - architect. Zemtsov M.G. - project
1743 - architect. Andrey Kvasov - reworked project
1745 - architect. Chevakinsky S.I. -
Grand Palace
1752-1756 - Rastrelli F.-B. baroque
Palace church
State Museum-Reserve "Tsarskoe Selo".
Catherine palace
In the center of the architectural and park ensemble of Pushkin there is a huge building of the Catherine Palace. In front of its eastern and western facades are the oldest parts of the Catherine and Alexander parks with a symmetrical layout. These rougher parks pass into the extensive landscape parks created later. The palace and park complex was created over two centuries.
Pre-church hall
The Grand Palace in Tsarskoe Selo.
Superstructure project for the Middle House. 1st option.
Facade from the side of the front yard.
2nd option. S.T.Chevakinsky according to the project
F.-B. Rastrelli. 1749-1750
Original copy XIX century. (. Pp. 76-80.)
F.-B. Rastrelli.
Plan of the 1st and 2nd floors.
1st floor plan.
View. Of the Great Palace.
kart. F.G. Barisiena. 1760-1761.
Palace in Tsarskoe Selo.
Facade of the Catherine Palace
(from the side of the square).
Hood. V. Sadovnikov. ([*]. C.)
Old postcard.
1912 g.
Church interior
E.P. Gau, "The Church in
Bolshoi
Tsarskoye Selo
palace ", 1860s,
watercolor.
1911 Church choirs
At the beginning of the 18th century. on a high hill 25 versts from St. Petersburg, on the territory of the present Catherine Park, there was a small estate surrounded by forests. In Finnish it was called Saari mojs, Swede. Sarishoff - "manor on a high place", in Russian - Sarskaya manor. The estate was used as a carpenter on the former Novgorod land, which was seized in the 17th century. Swedes and returned at the beginning of the Northern War (1700-1712).
For the development of the area around St. Petersburg under construction, Peter I initially gave the Sarskaya manor to the governor-general of the liberated region A.D. Menshikov. Later, in 1710, by decree of the emperor, the Sarskaya manor (together with 43 attributed villages and lands) was donated to Marta Skavronskaya, who in 1712 became his wife under the name of Ekaterina Alekseevna.
In 1718-1724. according to the project of architect. Johann Braunstein, the first two-storey stone palace with rusticated corners and modest architraves - "stone chambers of sixteen rooms" was erected here. The palace was painted with red lead and covered with shingles. A garden was laid out in front of the palace on piled earthen ledges. Greenhouses and greenhouses were located behind the garden. On the western side was the Menagerie - a fenced-in area of the forest, in which elks, cabins and hares were kept for the royal hunt. Around the manor, a village, brick and tile factories, sheds for burning lime and other household structures appeared.
In 1724, a celebration was held in the new "chambers", this emphasized the importance of the new palace estate, which soon began to be called Saarskoye Selo, then Tsarskoye Selo.
During the reign of Elizabeth Petrovna, large-scale construction began in Tsarskoye Selo. In 1743, by order of Elizabeth, architect. MG Zemtsov developed a project for a new, large palace, but it remained unfulfilled due to the death of the author. In the same year, the project was approved, revised by Andrei Kvasov, who had "a slight excess against the previous one." The reconstruction of the Tsarskoye Selo palace according to this project began in 1744 and lasted until 1748.
Since 1745, architect. SI Chevakinsky took part in the design and supervised construction and finishing works. The task of arch. complicated the order of the empress to preserve the old house, making extensions to it. The old house was included in the central building of the palace, its facades received a new finish. The palace, created according to the project of Kavos and Chevakinsky, consisted of three buildings, a church and a greenhouse hall, connected by galleries. Outside, it was decorated with stucco, and inside - "plaster and carved work."
The huge front yard on the side of the western facade of the palace was surrounded by service wings located in a semicircle.
Further reconstruction of the palace was carried out by arch. V. V. Rastrelli (1700-1771). In 1752, by order of Elizabeth, comparatively small palace buildings with restrained decorations were replaced by buildings of enormous size, with a magnificent, ceremonial design of the facades in the Baroque style. In 1752-1756 Rastrelli rebuilt the Grand Palace and, keeping the basic principles of the original planning of the entire ensemble as a whole, created a brilliant suburban residence.
The palace was built on. Its main facade, more than 300 m long, received rich architectural treatment - a huge number of columns, pilasters and sculptures. The walls of the palace were painted azure and the moldings were gilded. Between the palace church and the northern wing, Rastrelli left an open gallery, setting up a hanging garden there. The front yard was decorated with openwork gates, forged from iron by the craftsmen of the Sestroretsk Zovod and trimmed with gold. In 1751-1752 wooden lattice fences were replaced by a high stone fence with a gate, designed by Rasterelli. near the palace, on the site of the present Granite Terrace, the building of the Roller Coaster was built according to the designs of A.K. Nartov and Rastrelli.
In 1746, the palace church was laid, which was initially planned as a detached building. By the fall of 1746, the circumference wings were completed - one-story auxiliary rooms located along an arc on the north-western side of the palace. The old stone chambers, crowned with a new cornice and roof, have increased in façade and in height. From that time on, the chambers of Catherine I began to be called the Middle House.
Since 1748, construction work was headed by B.-F. Rastrelli, appointed chief architect of the palace. He developed his own plan for the Great Tsarskoye Selo Palace and Park and began a new reconstruction. All parts of the palace, previously connected by galleries-passages, were combined into an integral massif, the Middle House and the side wings were built on with a third floor, the facades of the palace received a new architectural treatment.
On July 30, 1756, a reception was held in Tsarskoe Selo to mark the completion of the construction of the Grand Palace.
The regular part of the Catherine Park sloped down the hill in terraces. In the XVIII century. this area of the park was called the Old Garden.
Inside the palace, an enfilade of extensive ceremonial halls with various artistic decoration appeared. For the decoration of the palace were used 6 pounds 17 pounds 2 spools of pure gold (about 100 kg).
The palace became the center of a huge royal estate. In addition to the Old Garden (later the Catherine Park), between the front yard and the Menagerie at that time, the New Garden was laid out (on the territory of the Alexander Park). The author of the gardens' project is unknown. Both parks had a regular layout. The arrangement of alleys, ponds, bosquets was strictly symmetrical. Skillfully trimmed bushes and trees formed walls and niches in which statues were erected. There were many "garden ideas" in the park - figured ponds, sculptures, architectural structures, pavilions created according to the project of arch. Rastrelli. Work on the creation of the palace and parks lasted 4 years. Rastrelli was assisted by arch. assistants V. I. Neelov and A. I. Mylnikov, who made the drawings. Leaf gold was supplied by Moscow "leaf" craftsmen. Large sums of money required for the construction of the royal residence were provided by the "salt commissioner" - the sale of salt taken to the treasury.
The new palace and park ensemble, built by the end of 1756, evoked general admiration. In 1755, the Amber Office was moved here from the Third Winter Palace. Tsarskoe Selo became the place of official receptions for the Russian nobility and representatives of foreign states. Important state issues were also resolved here. During the Seven Years' War (1756-1763) meetings were held here.
Under Catherine II, Tsarskoe Selo retained the importance of a ceremonial residence. During this period, the appearance of the palace changed somewhat: in connection with the transfer of the main staircase to the center of the building, the dome that rose in the southern part of the palace was destroyed, the dilapidated gilded wooden statues were removed, and the gilded moldings were painted over with ocher.
Church of the Resurrection of Christ.
The author of the project of the palace church was the architect S.I. Chevakinsky. The ceremonial laying of the church, located in the northern part of the palace, took place on August 8, 1746 in the presence of Elizaveta Petrovna, the heir of Pyotr Fedorovich and his wife Ekaterina Alekseevna.
The six-tier carpentry iconostasis, decorated with gilded columns and pilasters, was designed by F.-B. Rastrelli, and the carving work was entrusted to the best court master Johann Dunker. The picturesque plafond depicting the Ascension of the Lord was executed by the artist Giuseppe Valeriani, who painted it for several years from 1749. In the same year, the Empress also set the color (dark blue Prussian blue) in which the church was to be painted in its final form.
The palace church, crowned with five gilded domes, was consecrated on July 30, 1756 in the name of the Resurrection of Christ by the Archbishop of St. Petersburg and Shlisselburg Sylvester (Kulyabka) in the presence of the Empress. The unusually luxurious decoration of the temple was one of the finest examples of the Elizabethan era. All the icons that were in the church, including those on the walls of the temple, in the altar and in the choirs (there were 114 of them), were cut into the walls and covered with gilded frames. In the altar, above the altar, there was a huge carved gilded canopy on eight columns. The choirs and the rooms below them were separated from the church by a wall. The Empress and her Court were in the choir during the divine services.
On May 12, 1820, as a result of a fire, the church burned down, and most of the icons that were in it perished. The domes restored after the fire by V.P. Stasov were somewhat different from the original ones and, according to contemporaries, were less consistent with the appearance of the palace. The huge pictorial plafond, which repeated the work of Valeriani, was painted anew by the artist V.K.Shebuyev. The new plafond in the altar "Glory of the Holy Spirit" was painted in 1822 by the artist Dmitry Antonelli on plaster. In the choir room, a new plafond depicting Sts. Faith, Nadezhda, Love and their mother Sophia, was begun in 1823 by the court painter Otto Ignatius, and finished because of the death of the latter by Gustav Gippius. D. Antonelli took over the restoration of most of the icons. The rest of the icons were painted anew by A. Yegorov, Professor Andrei Ivanov and painter I. F. Tupylev. The frames were removed during the fire and saved. The church rebuilt after the fire was re-consecrated on April 2, 1822 by Archbishop Iona (Pavlinsky) of Tver and Kashin in the presence of Alexander I.
On the night of June 16, 1863, a fire broke out again in the palace church, completely destroying all the domes, but this time most of the images and church utensils were saved. Miraculously, the plafond of the artist V.K.Shebuev survived. The plafond in the altar of Dm. Antonelli died, but was painted again by Academician Belloni on canvas. The church, restored in the course of a year, was consecrated again on October 27, 1864 by the confessor of the Imperial Family, Protopresbyter Vasily Bazhanov, in the presence of Alexander II. The chapters of the palace church, restored by the architect Alexander Fomich Vidov, this time more corresponded to the style of "Elizabethan baroque".
Despite all the damage sustained during the fires, by the twentieth century the palace church basically retained its original appearance, which it had during the reign of Elizabeth Petrovna.
The church was officially closed on May 22, 1922, although services in it ceased back in 1917. On June 9, 1918, a museum was opened in the Yekaterininsky Palace. During the Great Patriotic War, a garage was set up in the church building by German troops, and its interior was looted, or 98 icons were badly damaged, and the remaining ones in the church were stolen. By 1944, only the remains of the famous plafond survived. As a result of the Soviet counteroffensive, the palace building was partially destroyed by direct hits from shells.
After the October social. revolution in 1918 Tsarskoye Selo palaces and parks were taken under state protection. They have become historical and art museums and recreation sites. At the beginning of the Second World War, the most valuable exhibits were evacuated, and park sculptures were buried in the park. During the occupation, palaces and parks were badly damaged. After the liberation of the city in January 1944, work began almost immediately on clearing the park, preserving the Catherine's palace and pavilions. In June 1945, Catherine's Park was opened, and in the spring of 1946 - Aleksandrovsky. After the war, thousands of trees were planted in the park, the Big Pond was cleared, the facades of the pavilions of the Catherine Park and a significant part of the park sculpture were restored.
The restoration work of the Catherine Palace began in 1957. The work was carried out by the Special Scientific Restoration Workshops of the Main Architectural and Planning Department and the Fasadremstroy Trust. The author of the restoration project is arch. A. A. Kedrinsky. The facades of the palace were restored as close as possible to their appearance in the 18th century, the later layers were removed. The destroyed porch of the main entrance from the side of the palace square, built in the middle of the 19th century, has been removed. In its place, a porch was recreated according to Rastrelli's drawings. The cartouches of the original design are reproduced in the pediments of the middle house. Already in 1958, part of the premises on the second floor was used for an exhibition. In 1959, the first restored palace halls were opened. The regular part of the park in front of the palace has been recreated in its original form.
In the 1950s. in the central part of the palace there was a museum, in the side wings were located: the All-Union Museum of A.S. Pushkin, a children's music school and a one-day recreation center. At this time, the park facade of the palace was partially hidden behind tall trees.
In January 1983, the palace and park ensemble of the city of Pushkin was given the status of a reserve, which in 1990 received its current name: the State Museum-Reserve "Tsarskoe Selo".
In 1989, the palaces and parks of ensembles of the city of Pushkin were included in the UNESCO World Heritage List.
Restoration work continues in the halls of the Catherine Palace. From 2010 to 2013, restoration work was carried out at Agate companies, using the method of conservation and restoration with minimal replacement of losses (in accordance with the Venice Charter for the Conservation and Restoration of Monuments and Sites).
The Grand Tsarskoye Selo Palace is a baroque masterpiece created by Bartolomeo Francesco Rastrelli for Elizabeth Petrovna. During the Great Patriotic War, the palace was destroyed; to date, 32 out of 58 rooms have been restored, including the Amber Room. Perhaps this is the most impressive Russian "remake".
// Part 27
1. At the heart of the central part of the palace are two-storey "stone chambers" built in 1717-1724 by the architect Braunstein for Catherine I. 
2. The modern palace was erected in 1748-1756 by the chief architect of the imperial court F.-B. Rastrelli. 
3. Now a monument to the famous architect is erected on the side of the building. 
4. The facade of the palace is presented in the form of a wide azure ribbon with snow-white columns and gilded ornaments, giving the building a special chic. 
5. The Palace of the Resurrection Church is located in the northeastern part of the building. 
6. Nearby there is a building connected to the palace by an arch. 
7. The main courtyard of the residence is bounded by two circumferences; the parade ground is located in it. At the edges there are two yellow service (kitchen) buildings. 
8. To get inside the palace in the summer, you need to stand in the heat for a forty-minute queue. 
9. While waiting to examine the details of the building. 
10. The last large-scale restoration of the building was more than ten years ago, now the facades need cosmetic repairs. 
11. Blue and gold paint has faded. 
12. The columns of the palace support the sculptures of the Atlanteans, their faces can be seen only when they come close to the building. 
13. First of all, we get to Front staircase, decorated with the sculpture "Awakening Cupid" in 1860. 
14. The staircase was created under Catherine II by Charles Cameron on the site of the Chinese Hall. In memory of this, the interior is decorated with vases and dishes from Chinese porcelain. 
15. The ceiling of the hall is decorated with paintings "Aeneas and Venus", "Jupiter and Callisto" and "The Judgment of Paris". They replaced the canvases that died under the collapsed ceilings during the war. 
16. The stucco wall decor and the caryatids framing doorways have been restored from uncovered details and pre-war images. 
17. The large clock has also been recreated. 
18. Green dining room- part of the private chambers of Grand Duke Pavel Petrovich and his first wife Natalya Alekseevna, built under Catherine II on the site of an open terrace - a "hanging" garden. 
19. Interior Waiter decorated with mahogany chairs, a Swedish chest of drawers from the second half of the 18th century and a sculpture by M.-A. Collot "Head of a Girl" 1769. 
20. Small White dining room in the private chambers of Elizabeth, Catherine II and Alexander I. Its interior was formed after the fire of 1820. 
21. A copy of K. Vanloo's painting "Bathing of Venus" is installed in the plafond of the ceiling. 
22. Next door is Chinese living room of Alexander I.
23. Its interior is distinguished by silk wall upholstery painted with watercolors in the Chinese manner. 
24. On the walls there are portraits, including those of Emperor Peter II by I.-P. Luden. 
25. Further - Pantry, until 1761 was part of the Restroom on the half of Elizaveta Petrovna. 
26. For the plafond, a painting by the Italian artist of the 17th century P. da Cortona "Fishing for corals" was used, donated from the Hermitage funds. 
27. Cavalry dining room- a small hall, visually enlarged by mirrors and false mirrored windows. 
28. On the tables are items of the famous "Order" services, decorated with signs and ribbons of Russian orders. 
29. The picturesque plafond in the center of the ceiling is decorated with a painting by an unknown Russian master of the mid-18th century on the subject of the ancient myth of the sun god Helios and the goddess of the morning dawn Eos, obtained from the funds of the Russian Museum. 
30. White front dining room was intended for solemn dinners and "evening meals" of Empress Elizabeth Petrovna in a narrow circle of confidants. 
31. Green Stolbovaya under Catherine II it served as a pantry, which kept silverware and porcelain. Here is one of the multi-tiered tiled stoves with cobalt painting, columns and niches. Such stoves, created according to Rastrelli's sketches, were an integral part of all the halls of the palace's ceremonial suite. 
32.
33. In Portrait room ceremonial images of royalty were shown. Today, in addition to portraits, one can see one of the Empress's dresses. 
34. The ceiling of the hall is decorated with a picturesque plafond "Mercury and Glory" transferred from it. 
35. The first in a series of the most impressive halls of the Tsarskoye Selo Palace - Picture hall area of 180 m². 
36. Picturesque canvases are placed in it according to the principle of a tapestry hanging. Placing works on the wall, Rastrelli took into account, first of all, their size and coloristic solution: separated from each other by a narrow gilded baguette, the paintings merge into a single colorful "carpet". 
37. The plafond "Olympus" is in harmony with the general color of the walls - a copy of the plafond of the Jordan Stairs of the Winter Palace. 
38. Big hall, or the Bright Gallery - the most significant ceremonial room of the palace, created by the project of the architect F.-B. Rastrelli in 1752-1756. 
39. Its area is over 800 m². 
40. The alternation of large windows with mirrors visually expands the boundaries of the hall. 
41. The sculptural and ornamental carving, covering the planes of the walls with a continuous pattern, was made according to Rastrelli's sketches and models of the sculptor-decorator Dunker by 130 Russian carvers. 
42. The original painting plafond was painted in 1752-1754 after a sketch by the Venetian artist D. Valeriani. It consisted of three independent compositions depicting "Allegory of Russia", "Allegory of Peace" and "Allegory of Victory". 
43. In the 1790s, due to deformation of the ceilings, Valeriani's plafond was removed to the palace storerooms, and in 1856-1858 the artists F. Wunderlich and E. Franciuoli created a new composition "Allegorical depiction of Science, Art and Industry". This plafond was lost during the war. 
44. In the 1950s, during the restoration, the lateral parts of the old plafond, "Allegory of Peace" and "Allegory of Victory", which were considered lost, were discovered. It was decided to recreate Valeriani's ceiling, returning the surviving compositions to Tsarskoe Selo. The central part was restored according to sketches and descriptions made by Valeriani himself, as well as from a drawing by Stackenschneider in 1857. 
45. The amber room is rightfully called one of the wonders of the world. Initially, this interior was created for the Prussian queen Miria-Charlotte, but in 1716 by Frederick William I it was presented to Peter the Great, but only under Elizabeth did he find a place in the old Winter Palace. With her, the precious panels on her hands (!) Were transferred to Tsarskoe Selo. Rastrelli installed them in the middle tier of the walls, dividing them with pilasters with mirrors and decorated the room with gilded carvings. Where there was not enough amber, fragments of the walls were covered with canvas and painted "like amber" by the artist Belsky. After the capture of Pushkin by German troops, the panels were removed by the Kunstkomission team and were exhibited at the Konigsberg Castle until 1944. When the Germans retreated, the panels were again dismantled, packed in boxes and taken out in an unknown direction. 
46. The restoration of the room began in 1979. In 2000, a late 18th century Russian typesetting chest of drawers and a Florentine mosaic "Touch and Smell", which were part of the original decoration of the room, returned to the museum, discovered in Germany. By 2003, the decoration of the hall was completely restored. 
47. In an inconspicuous hallway of the palace, there is a painting depicting the palace in a dire state of 1944. It reminds us of the enormous damage war can do to history and culture. 
History of the construction of the Catherine Palace
The construction of the palace began in 1717, and for almost 300 years it has been the main attraction of the city of Pushkin and, together with the Catherine Park, occupies its central part. The first architect involved was Johann Friedrich Braunstein. By 1724, the palace was a two-story small building, and was named "stone chambers of Catherine I".
During the reign of Elizabeth Petrovna, it was decided to expand the palace. The reconstruction of the building began in 1743 and lasted 13 years, during which one architect was replaced by another. In 1748 Francesco Bartolomeo Rastrelli was appointed chief architect of Tsarskoye Selo. Having headed the construction of the Catherine Palace, Rastrelli attached paramount importance to the rebuilding of wooden galleries into full-story structures. Thanks to his work, the palace became the first place in Russia where the length of the suite was equal to the length of the entire building.
The architect adopts colors that were unusual and bold for Russia at that time and actively uses heavenly blue in combination with white and gold. In 1760-1770. the reconstruction of the palace began according to the taste of its new mistress Catherine II. The elegant decoration of the facade was removed, the stucco decorations disappeared, and the gilding was replaced with paint. The architect Charles Cameron created new interiors of the palace: Arabesque and Lyons drawing rooms, Bedchamber. Unfortunately, during the war they were destroyed and have not yet been rebuilt.
Parks were laid out at the same time as the palace. The landscape park became part of the panorama, and the regular one was laid out with terraces on the slope. There are many pavilions and sculptures in the park, but its main decoration is the Hermitage, the Grotto, the Upper and Lower Baths.
In 1817, the architect V. Stasov for the Emperor Alexander I created the State Office and several adjoining rooms in memory of the brilliant victories in the Patriotic War of 1812. In 1863, the Main Staircase was created in the style of the "second rococo".
Exhibition rooms of the Catherine Palace:
- Throne room,
- White front dining room,
- Crimson and Green Pillars,
- The Amber Room (the best masters from different countries worked on its creation for 5 years),
- The Picture Hall (it contains more than 100 paintings from the works of Western European painting masters of the 17th - early 18th centuries of various national schools),
- Green dining room,
- Waitress,
- Bedchamber
Modern time
During the Great Patriotic War, most of the decoration of the palace was destroyed and looted, including the famous Amber Room. Today, thanks to the colossal work of scientists and restorers, much has been restored. Of the 58 rooms of the palace destroyed during the war, 32 have been restored.
- The central building of the palace is decorated with caryatids, atlantes, cartouches and mascarons
- The main pediment of the Middle House is decorated with cartouches with the monogram of Empress Catherine I "E" and a crown
- In 1756, all the sculptural elements of the palace decoration were covered with gold. About 100 kilograms of pure pure gold was used for gilding
- The most famous hall of the palace is the Amber Room
- Over 130 paintings are in the Picture Hall
Editorial staff of the site Pushkin.ru
The Grand Tsarskoye Selo Palace is a baroque masterpiece created by Bartolomeo Francesco Rastrelli for Elizabeth Petrovna. During the Great Patriotic War, the palace was destroyed; to date, 32 out of 58 rooms have been restored, including the Amber Room. Perhaps this is the most impressive Russian "remake".
// Part 27
1. At the heart of the central part of the palace are two-storey "stone chambers" built in 1717-1724 by the architect Braunstein for Catherine I. 
2. The modern palace was erected in 1748-1756 by the chief architect of the imperial court F.-B. Rastrelli. 
3. Now a monument to the famous architect is erected on the side of the building. 
4. The facade of the palace is presented in the form of a wide azure ribbon with snow-white columns and gilded ornaments, giving the building a special chic. 
5. The Palace of the Resurrection Church is located in the northeastern part of the building. 
6. Nearby is the building Imperial Lyceum connected to the palace by an arch. 
7. The main courtyard of the residence is bounded by two circumferences; the parade ground is located in it. At the edges there are two yellow service (kitchen) buildings. 
8. To get inside the palace in the summer, you need to stand in the heat for a forty-minute queue. 
9. While waiting to examine the details of the building. 
10. The last large-scale restoration of the building was more than ten years ago, now the facades need cosmetic repairs. 
11. Blue and gold paint has faded. 
12. The columns of the palace support the sculptures of the Atlanteans, their faces can be seen only when they come close to the building. 
13. First of all, we get to Front staircase, decorated with the sculpture "Awakening Cupid" in 1860. 
14. The staircase was created under Catherine II by Charles Cameron on the site of the Chinese Hall. In memory of this, the interior is decorated with vases and dishes from Chinese porcelain. 
15. The ceiling of the hall is decorated with paintings "Aeneas and Venus", "Jupiter and Callisto" and "The Judgment of Paris". They replaced the canvases that died under the collapsed ceilings during the war. 
16. The stucco wall decor and the caryatids framing doorways have been restored from uncovered details and pre-war images. 
17. The large clock has also been recreated. 
18. Green dining room- part of the private chambers of Grand Duke Pavel Petrovich and his first wife Natalya Alekseevna, built under Catherine II on the site of an open terrace - a "hanging" garden. 
19. Interior Waiter decorated with mahogany chairs, a Swedish chest of drawers from the second half of the 18th century and a sculpture by M.-A. Collot "Head of a Girl" 1769. 
20. Small White dining room in the private chambers of Elizabeth, Catherine II and Alexander I. Its interior was formed after the fire of 1820. 
21. A copy of K. Vanloo's painting "Bathing of Venus" is installed in the plafond of the ceiling. 
22. Next door is Chinese living room of Alexander I.
23. Its interior is distinguished by silk wall upholstery painted with watercolors in the Chinese manner. 
24. On the walls there are portraits, including those of Emperor Peter II by I.-P. Luden. 
25. Further - Pantry, until 1761 was part of the Restroom on the half of Elizaveta Petrovna. 
26. For the plafond, a painting by the Italian artist of the 17th century P. da Cortona "Fishing for corals" was used, donated from the Hermitage funds. 
27. Cavalry dining room- a small hall, visually enlarged by mirrors and false mirrored windows. 
28. On the tables are items of the famous "Order" services, decorated with signs and ribbons of Russian orders. 
29. The picturesque plafond in the center of the ceiling is decorated with a painting by an unknown Russian master of the mid-18th century on the subject of the ancient myth of the sun god Helios and the goddess of the morning dawn Eos, obtained from the funds of the Russian Museum. 
30. White front dining room was intended for solemn dinners and "evening meals" of Empress Elizabeth Petrovna in a narrow circle of confidants. 
31. Green Stolbovaya under Catherine II it served as a pantry, which kept silverware and porcelain. Here is one of the multi-tiered tiled stoves with cobalt painting, columns and niches. Such stoves, created according to Rastrelli's sketches, were an integral part of all the halls of the palace's ceremonial suite. 
32.
33. In Portrait room ceremonial images of royalty were shown. Today, in addition to portraits, one can see one of the Empress's dresses. 
34. The ceiling of the hall is decorated with a Yusupov Palace picturesque plafond "Mercury and Glory". 
35. The first in a series of the most impressive halls of the Tsarskoye Selo Palace - Picture hall area of 180 m². 
36. Picturesque canvases are placed in it according to the principle of a tapestry hanging. Placing works on the wall, Rastrelli took into account, first of all, their size and coloristic solution: separated from each other by a narrow gilded baguette, the paintings merge into a single colorful "carpet". 
37. The plafond "Olympus" is in harmony with the general color of the walls - a copy of the plafond of the Jordan Stairs of the Winter Palace. 
38. Big hall, or the Bright Gallery - the most significant ceremonial room of the palace, created by the project of the architect F.-B. Rastrelli in 1752-1756. 
39. Its area is over 800 m². 
40. The alternation of large windows with mirrors visually expands the boundaries of the hall. 
41. The sculptural and ornamental carving, covering the planes of the walls with a continuous pattern, was made according to Rastrelli's sketches and models of the sculptor-decorator Dunker by 130 Russian carvers. 
42. The original painting plafond was painted in 1752-1754 after a sketch by the Venetian artist D. Valeriani. It consisted of three independent compositions depicting "Allegory of Russia", "Allegory of Peace" and "Allegory of Victory". 
43. In the 1790s, due to deformation of the ceilings, Valeriani's plafond was removed to the palace storerooms, and in 1856-1858 the artists F. Wunderlich and E. Franciuoli created a new composition "Allegorical depiction of Science, Art and Industry". This plafond was lost during the war. 
44. In the 1950s, during the restoration Mikhailovsky Castle lateral parts of the old plafond, "Allegory of Peace" and "Allegory of Victory", which were considered lost, were discovered. It was decided to recreate Valeriani's ceiling, returning the surviving compositions to Tsarskoe Selo. The central part was restored according to sketches and descriptions made by Valeriani himself, as well as from a drawing by Stackenschneider in 1857. 
45. The amber room is rightfully called one of the wonders of the world. Initially, this interior was created for the Prussian queen Miria-Charlotte, but in 1716 by Frederick William I it was presented to Peter the Great, but only under Elizabeth did he find a place in the old Winter Palace. With her, the precious panels on her hands (!) Were transferred to Tsarskoe Selo. Rastrelli installed them in the middle tier of the walls, dividing them with pilasters with mirrors and decorated the room with gilded carvings. Where there was not enough amber, fragments of the walls were covered with canvas and painted "like amber" by the artist Belsky. After the capture of Pushkin by German troops, the panels were removed by the Kunstkomission team and were exhibited at the Konigsberg Castle until 1944. When the Germans retreated, the panels were again dismantled, packed in boxes and taken out in an unknown direction. 
46. The restoration of the room began in 1979. In 2000, a late 18th century Russian typesetting chest of drawers and a Florentine mosaic "Touch and Smell", which were part of the original decoration of the room, returned to the museum, discovered in Germany. By 2003, the decoration of the hall was completely restored. 
47. In an inconspicuous hallway of the palace, there is a painting depicting the palace in a dire state of 1944. It reminds us of the enormous damage war can do to history and culture. 
