In 1799 the stone terrace on the Swan Canal was designed by G. Pil’nikov (later on cast-iron tripods were installed there by C. Rossi – in 1826). The Coffee-House that had been built in mid. 18th cent. by A. Schluter was rebuilt in 1826 by C. Rossi and V. Demuth-Malinovskiy. A year after the Tea-House was built by L. Charlemagne who also designed the cast-iron railings on the Moyka Side. On 10 September 1839 the Porphyry Vase presented by the King of Sweden to Emperor Nicholas I) was placed at the Carp Pond. On 12 May 1855 Monument to Ivan Krylov, an outstanding Russian fabulist was installed there by P. Klodt with the bas-reliefs on the pedestal illustrating Krylov’s fables.
The Menshikov Palace Меншиковский дворец
Alexander Danilovich Menshikov, the son of a stableman, became Prince Alexander, Peter’s close associate and comrade-in-arms, the field marshal and the first governor-general of Saint-Petersburg and Ingermanland (the lands of Izhora). In August 1710 he commissioned architect D. Fontana to build his own residence on the shore of the Vasilyevskiy Island. On 1 October 1711 A. Menshikov gave a house-warming party in his magnificent Palace. When in 1712 D. Fontana left the city for France, Menshikov commissioned German architect Gottfried Schadel to continue the building.
The Menshikov residence was the first stone edifice of such a size in the city and soon became the centre of political and social life of Saint-Petersburg in the reign of Peter I. Diplomatic receptions, social gatherings attended by foreigners and the anniversaries of the victories in the Northern War were held there. From his mansion A. Menshikov handled business matters connected with the Army organization and building of the city. In one word the residence of A. Menshikov was regarded in Russia as the symbol of the wind of change. Behind the Palace a splendid garden (with 67 people looking after it!) was laid out with 4 ponds in it. The garden was lavishly decorated with fountains and statues brought from Holland and Italy. The garden at Menshikov’s residence was one of the most beautiful ones in the new capital and soon became a real sightseeing that was shown to the foreigners. The fruits and vegetables from Peter’s and Menshikov’s gardens were sent to their owners to demonstrate their sympathies to each other.
The Palace is a bright example of Petrine Baroque, though it demonstrates some characteristic features of the Old Russian Style: the auxiliary premises on the ground and the first floors with the vaulted ceilings, white-washed walls, plank floors and sturdy wooden doors. It has 150 rooms divided into two symmetrical parts – the one had once been occupied by A. Menshikov himself, the other – by his wife, – united by ceremonial rooms where feasts took place. Two mighty wings with elegant pilasters and balustrades looked like the sterns of frigates.
The interior décor was amazingly luxurious – 13 rooms were ornamented with blue and white Dutch tiles. The fashion on tiles came to Russia from France in late 17th cent., when Louis XIV ordered to construct the plant in Versailles – the Small Porcelain Trianon with the walls totally covered outside with the Dutch tiles. The tiles were brought from Holland, partially being produced and painted in Saint-Petersburg and its environs. Nowadays visitors can admire only 4 rooms the ceilings and walls of which are decorated with 27 810 tiles.
After Peter I’s death in 1725 A. Menshikov helped Catherine to ascend the throne, and for thirty months he practically ruled the country from his residence. After the Empress died he fell victim to the plot made by his enemies – in September 1727 A. Menshikov was arrested and together with his family sent to Beryozov, Siberia. His property was confiscated, his wife died on the way, he and his elder daughter died in Siberia in poverty and disgrace in 1729; his other two children were allowed to return to the capital. Being in exile A. Menshikov wrote: God elevated me to the highs of vanity and grandeur, and God crashed me down…
In 1732 after Menshikov’s death the Palace was given to the Military College (the first military educational establishment in Russia). Among its graduates there were such outstanding personalities as a famous Russian poet A. Sumarokov, the first actor of Russian professional theatre F. Volkov, poets-Decembrists K. Ryleyev and F. Glinka. In 1730 – 1740 the Palace was partially rebuilt, in 1758 – 1760 the eastern wing was added to it. As a result of such a rebuilding a marvelous garden was completely destroyed, the last trees from it being cut off in 1920s.
Since 1956 the restoration work had been undertaken in the Palace. It was finished in 1981 when the Menshikov Palace acquired its original look. Nowadays it belongs to the Hermitage and houses the exhibition devoted to the epoch of Peter the Great – one can see the objects of art dated by early 18th cent.
The Kunstkammer
Кунсткамера
During the Great Embassy of 1697 – 1698 Peter I was greatly amazed by the studies of curiosities and rarities numerous in Europe – so called kunst kammeras. The Tsar was overwhelmed with the idea to make a similar collection in a new capital – so he started buying rare books, objects of art and medical instruments. By the Emperor’s order those people who brought rare items to the Court for the future museum were to be rewardered with money. At first (1714) the collection called Kunstkammera (the chamber of curiosities) was located in the Summer Palace of Peter I and the Kikin Chambers, but soon there was no vacant place for all the objects (only Peter’s personal collection of book consisted of 15 000 items!) and the erection of a special premise for housing the collection of rarities was started on the Vasilyevskiy Island.
Peter I commissioned G. Mattarnovi with the construction of the building for the exhibits in 1718. After the architect’s death N. Herbel continued the work. He somehow changed the design and finished the edifice by 1724. G. Chiaveri continued the work after N. Herbel in 1725, having changed the design, but didn’t manage to finish his work. The ceremonial opening took place in 1728 but the construction and the interior decoration continued up to 1734 when the building of a tower crowned with the sphere was fulfilled by M. Zemtsov.
The edifice consists of two similar in form 3-storied parts connected with the tower. The eastern wing was intended for the library, while the western one for the collection. The tower was to become the premise for the anatomic theatre and the first in Russia observatory. The present of Duke of Holstein, future husband of Peter’s daughter Anna, – the Hottorp Globe was put in the round hall on the third floor of the tower. Nowadays the Museum of Lomonosov is located there. In 1735 the statues symbolizing different sciences appeared in the niches of the southern and northern façades designed by M. Zemtsov and made by the craftsman Koch.
In 1727 the collection of curiosities was finally moved from the Summer Palace to the Kunstkammer and was shown to the public for the first time. To attract people Peter ordered to spend a certain sum of money from the Treasury on coffee and zuckerbrodes (sandwiches) to treat the visitors. In 1741 a two-volume catalogue of the Kunstkammer’s collection with a detailed description was printed. The collection was growing due to the objects brought from numerous academic voyages and the rarities bought all over the world.
The majority of the anatomic collection belonged to professor Frederick Ryush. The collection including 937 objects was sold to Peter I in 1717 by the professor himself who told the Tsar that he could sell it only to such a passionate and intelligent personality as Peter the Great who appreciated the rarities, knew how to take care of them and was could preserve them for new generations.
In 1747 the fire broke out in the Kunstkammer – a lot of exhibits were damaged. The collection was restored only by 1766. In early 19th cent. the collection was enlarged with the objects brought by James Cook from Polynesia. In late 19th cent. the Kunstkammer’s collection was divided into four museums: the Zoological, the Mineralogical, the Botanical and the Ethnographical ones.
In 1948 the Kunstkammer gained its original look. In spite of numerous disasters the Kunstkammer’s collection was kept up to our days. At the time of siege 15 people stayed in the Kunstkammer to preserve the exhibits. Nowadays there are 1.8 mln objects – the collection is regarded to be one of the largest of its kind in the world. The official name is the Museum of Anthropology and Ethnography (Kunstkammer).
The Catherine Palace and Park Ensemble
Екатерининский дворец и парковый ансамбль
The name Tsarskoye Selo comes from the Finnish words Saari-mojs that stand for a high place. Peter I was greatly impressed by the picturesque views of that place and presented the lands located on that territory to his wife in 1708. In 1710 – 1720 Tsarskoye Selo was a small summer residence of Empress Catherine I. In 1717 – 1723 stone edifices were erected on that plot under the supervision of architects I.-F. Braunstein and I. Ferster, a regular garden was laid out together with the menagerie for Tsar hunting. In 1734 not far from the palace there was founded a stone church – The Church of Annunciation.
In 1740s – 1750s the ensemble was enlargened by M. Zemtsov, A. Kvasov, S. Chevakinskiy and later on by F.-B. Rastrelli. The reconstruction of the ensemble was undertaken by order of Elizabeth Petrovna who planned to make Tsarskoye Selo its state summer residence. On 30 May 1743 she signed the order by which M. Zemtsov was to start the reconstruction work of the former Palace of Catherine I. On 18 July 1743 Zemtsov’s pupil took the place of the late teacher and suggested the detailed plan of the rebuilding that was approved. On 5 May 1745 S. Chevakinskiy was appointed the architect of Tsarskoye Selo. By 1751 the decoration of the Palace façades with the gilded sculptures was accomplished, the interior décor was also almost finished. However the Palace was not spacious enough and there were no hall for official receptions and festivities. New reconstruction was started by F.-B. Rastrelli who suggested to unite all the premises not dividing the space of the Palace in different parts. The third floor was overbuilt, gorgeous moulding was accomplished to the design by I. Dunker, the Grand Hall for state receptions was created in the state enfilade of the Palace’s apartments (17 m wide, 47.5 m long, area of 860 square metres) known also as the Light Gallery because of the numerous glazed doors and windows, with a magnificent ceiling painting The Triumph of Russia by G. Valeriani and A. Peresinotti.
In late 18th cent. Ch. Cameron was commissioned to décor the interior of the Palace, he also created the Cold Bath, the Agate Pavilion and the Cameron Gallery. The Cold Bath was designed by the architect as the Rome thermae with the swimming-pool, a warm bath, a steam bathroom, a resting room, a room for massage and some premises for the serves. The Agate Pavilion was intended for relaxation and was decorated with two studies – the Jasper Study and the Agate Study.
The Old Regular Garden is the oldest part of the Catherine Park and was designed by J. Roosen – the designer of the Summer Gardens. In 1740s – 1750s the Stone Hall, the Grotto and the Hermitage were constructed on its territory. The alleys of the Old Garden are decorated with the sculptures by the masters of the Venetian school who created the sculptures for the Summer Gardens. In 1770s V. Neyolov was working in Tsarskoye Selo creating the ensemble of the Catherine Park that was to combine the landscape and the regular styles.
The pearl of the Catherine Palace is by no means the Amber Room that overlooks the square with three windows, reaching the floor. It is double lighted and its walls are covered with amber; between the windows are high mirrors, touching the floor in muddled gilt rococo frames; on the walls there are gilt sconces in the same style. In the middle of the room stands the model of the Berlin monument in Berlin of Prussian King Frederick the Great. The furniture is white with light gilding, covered with yellow silk; near the windows in show-cases there are small amber knickknacks: chess-men, caskets, snuff-boxes etc.; the clock is made of bronze, representing a tree with branches, leaves, and flowers in porcelain, and a group in gilt bronze underneath; four mosaic landscapes in rich frames of carved amber, representing allegorically the five human senses are set in the amber panels.
Amber wasn’t commonly used to cover large interiors when, in 1701, architect A. Schluter decided to use it in rebuilding the suburban palace of the Prussian King’s consort Sophie-Charlotte. Craftsmen from Sweden, Holland and Germany (J. Nering, A. Schluter, J. Eosander, etc.) including acknowledged amber master Gottfried Turau, worked with tonnes of material for twelve years to make the large amber panels needed for a single room. In 1709 the King took a decision to decorate the Gallery of Oranienburg (one of the richest royal palaces of Prussia) with the amber panels. However, Frederick I died in 1713 and as his heir Frederick Wilhelm I had more martial interests, as a result the work stopped. The amber panels were kept in the Armoury Chamber of the Royal Stables and were intended for the decoration of a small study in the Berlin Palace.
Although incomplete, the Amber Room was still a stunning creation with many admirers, including Russian Tsar Peter the Great, who saw it during his official visit to Berlin. Unimpressed by the amber, but impressed with the Tsar, Frederick Wilhelm presented the amber room to Peter I in November 1716. In return Peter I presented the King of Prussia a small ship, 55 grenadiers for the King’s regiment of giant soldiers, a lathe and an ivory goblet Peter himself had produced. Packed in 18 boxes, the panels were delivered to Saint-Petersburg in 1717, where Alexander Menshikov received them in absence of Peter I who was then in France. The panels were kept unpacked in the Summer Palace until 1743.
In 1740s Russia’s then Empress, Elizabeth, asked for the amber to be used in the redecoration of the Audience Room intended for official receptions in the Winter Palace. For bringing together all the amber details, F.-B. Rastrelli employed mirror pilasters in carved gilt frames, the wooden details of which imitated amber. In November 1745 Frederick II sent to Saint-Petersburg the fourth richly ornamented amber frame with a mirror additional to the three that had already been in Russia – J. Suhr, one of its creators, who accompanied the parcel to Saint-Petersburg, spent 6 weeks in the city finishing the frame to the required size. The decoration of the room was accomplished in 1746.
In 1755 Catherine II ordered the amber moved to her summer residence at Tsarskoye Selo to decorate the study that was the part of the 250 m long Golden Suite running alongside the state courtyard. In July the study from the Winter Palace was dismantled and sent to the summer residence of the Empress. A spacious room of 96 square metres was designed to arrange the amber panels. The architect resorted the mirror pilasters, covered the walls with painted decorations imitating amber mosaics and planned to complete the interior design with elegant amber corner tables supported by a curved foot. In 1750s stonecutter L. Siries made in Florence several mosaics to the sketches by G. Zocchi depicting allegories of the five senses: sight, taste, hearing, touch and smell. The mosaics were placed in the amber frames instead of paintings. The parquet floor was designed by V. Neyolov, while the ceiling Wisdom Protecting Youth from Temptations of Love was painted by F. Fontebasso. In 1758 Prussian craftsman F. Roggenbach was invited to be the curator of the Amber Room; later on he headed the production of amber articles in the Amber Workshop at Tsarskoye Selo. German craftsmen together with Russian ones worked for four years during the last phase of the interior amber décor. About 450 kg of amber were used in the decoration of the amber pedestals supporting mirror pilasters. Finally in 1771 the Amber Room was accomplished to become the eight wonder of the world.
The décor of the Room demanded a permanent keep-up in due state, for after drying amber was subject to destruction and crushing into small pieces. However, the first restoration took place only in late 18th cent. In 1940 the Room turned out to be in a very poor state and demanded a restoration that was planned for 1941, but the outbreak of World War II didn’t allow to realize the project. The amber mosaics could not be transported away from the Palace for a test removal of one of the panels demonstrated that the amber inlays crumbled in large areas – it was decided to conserve the Amber Room on the spot. The panels were pasted over with gaze and overlaid with sheet wadding; the windows of the Room were sheathed with two layers of planks and the space between them was filled with sand. The Germans seized Pushkin on 17 September 1941 and stayed there till 24 January 1944. The panels were dismantled within 36 hours and dispatched to the Königsberg Museum in 1941, where they were put on display. In February – March 1944 the panels were dismantled and hidden in the basement of the Royal Castle of Konigsberg that was ruined in August 1944 as a result of the English bombings. However the décor of the Amber Room didn’t perish, the evacuation began – since that time the further destiny of the treasure is unknown, though there are numerous legends and versions suggesting its present whereabouts.