{"id":667651,"date":"2022-03-05T14:40:00","date_gmt":"2022-03-05T11:40:00","guid":{"rendered":"https:\/\/tourism.com.de\/?p=667651"},"modified":"2022-01-31T19:14:07","modified_gmt":"2022-01-31T16:14:07","slug":"marble-palace-in-st-petersburg-history-photo-description-how-to-get-there-map","status":"publish","type":"post","link":"https:\/\/tourism.com.de\/en\/marble-palace-in-st-petersburg-history-photo-description-how-to-get-there-map\/","title":{"rendered":"Marble Palace in St. Petersburg – history, photo, description, how to get there, map"},"content":{"rendered":"

Among the many architectural and historical monuments of the world, there are special ones that embody a whole layer of architectural trends, the names and fates of famous personalities of past centuries. A vivid example of this is the Marble Palace in St. Petersburg<\/a> – a colossal majestic building, a real “marble fairy tale”. Now it is one of the famous tour<\/a>ist sites of the “Venice of the North”, striking in its grandeur of size, magnificence and virtuosity of decoration. The rich history<\/a> of the palace, associated with the royal Romanov dynasty, cannot but excite and interest people of the 21st century.<\/p>\n

Construction history<\/h2>\n

\"Marble<\/a><\/p>\n

The idea of \u200b\u200bbuilding a palace came to Catherine II when she decided to thank her favorite, Count G. Orlov, for his companionship in state affairs and for his role in the empress's ascension to the throne. During the reign of Peter I<\/a>, this place was the building of the Post Office, which subsequently burned down in the first half of the 18th century. It was here, on the Neva embankment, on October 10, 1768, that the construction of the future architectural masterpiece by A. Rinaldi, a famous Italian architect, began.<\/p>\n

Complexity of construction<\/h3>\n

17 years (1768-85) of painstaking work of architects (Rinaldi and Egorov), sculptors, masons, carvers were spent on creating an amazing building worthy of admiration. Rinaldi had to not only observe the red line in a complex construction site in accordance with other buildings facing the Palace Embankment, but also achieve a harmonious “fit” of the palace in their general row.<\/p>\n

Therefore, granite was chosen as a building material, with which the embankment was finished, and the building became its natural continuation. Almost before the end of construction, Rinaldi was seriously injured by falling from scaffolding and left Russia<\/a>. Catherine repeatedly came to see how the construction of the palace was progressing and personally handed out awards to the workers.<\/p>\n

Reconstruction<\/h3>\n

In Soviet times, the Museum<\/a> of V. I. Lenin was organized in the Marble Palace, and after the restructuring, the building was transfer<\/a>red to the Russian Museum, on the initiative of which a large-scale reconstruction was carried out, which returned the former appearance of the interiors of the palace premises. Understanding the invaluable value of a true masterpiece of architecture, art historians, artists and sculptors set themselves the goal of restoring the unsurpassed authenticity of the interiors of the palace. More than 150 million rubles were allocated from the country's budget for the first stage of reconstruction, the restoration work was carried out carefully and scrupulously.<\/p>\n

Restoration stages<\/h2>\n

At first, 4 ceremonial halls were reconstructed, where the exhibits of the Museum of V.I. Lenin were placed (the latter found their place in other museums<\/a>). Experienced restorers tried to “resurrect” the unique Rinaldi parquet (made of 15 types of wood), expressive stucco decor elements of a marine theme: anchors, dolphins, seahorses, ship silhouettes, which were recreated according to drawings of the 19th century. A real miracle of restoration can be called the restoration of the “green” parquet from 7 types of wood.<\/p>\n

In the Living Room, wall paintings were brought back to life and the former appearance of the interiors was completely resurrected. In the Znamenny Hall, the stucco decoration of the vault was recreated, the artificial marble was cleaned of paint, and the parquet was re-laid in its original form. Painstakingly complex work was carried out in the Rotunda for the reconstruction of fireplaces, cleaning of artificial marble lining on the walls, restoration of typesetting parquet. The restoration of the famous building lasted more than 2 decades, but work continues.<\/p>\n

Architecture and interiors<\/h2>\n

\"Marble<\/a><\/p>\n

The Marble Palace is a true example of the architecture of early classicism, the features of which are clearly manifested in the external appearance of the monumental building. The severity of architectural lines, massive solidity, clear symmetry of windows, architraves, the grandiose splendor of the 3-storey stone “giant” make the building a true classic piece of architecture. Looking at the majestic building of the Marble Palace, it seems that it has stood forever on the Neva bank and will stand for many more centuries.<\/p>\n

Interior<\/h3>\n

The layout of the premises, external and internal interiors are also mostly design<\/a>ed in the classical traditions: the main staircase, the main reception room, the main halls. Marble of various shades was the main finishing material both inside and outside. Many symbolic sculptures and bas-reliefs are installed in the spaces of the palace. However, during the reconstruction in the 19th century (1844-49), the interior design in the halls of the 2nd floor was carried out in the spirit of a new style of architecture – eclecticism, which was admired by the architect-restorer A. Bryullov. The decoration of the halls was replenished with magnificent chandeliers made of gilded bronze, with crystal pendants, stucco decorations were changed and gilded, the famous plafond “Cupid and Psyche” by Torelli was moved.<\/p>\n

facades<\/h3>\n

\"Marble<\/a><\/p>\n

The undoubted artistic and architectural value of the palace is its unique facades, lined with natural stone (granite and marble) and survived to this day in almost original form. It is for the intensive use of marble of different varieties and shades in the decoration that the palace got its name. The color scheme and impeccable artistic taste of Rinaldi in the design of the facades were more than successful: dark red granite covering the facade of the 1st floor created the appearance of a pedestal for the next 2 floors, lined with light gray granite. The outer central facades are decorated with balconies with marble railings and gilded bronze balusters.<\/p>\n

Corinthian order<\/h3>\n

As a connecting element of the 2nd and 3rd floors, Rinaldi used the architectural style of the Corinthian order. Graceful pilasters and Corinthian columns, rhythmically alternating with window openings, are carved from pink marble (Tivdia), capitals and other elements are made of white marble. The carved ornament made of gray marble (Ruskeala) on the window frames became a wonderful decoration. The spaces between the windows are filled with embossed garlands of white marble. The attic of the palace along the entire length is furnished with “vases” made of gray dolomite.<\/p>\n

Sculptural decorations of facades<\/h3>\n

The central eastern fa\u00e7ade, “looking” at the front courtyard, is decorated with sculptural decorations. It is crowned at the top with a clock pavilion in the form of marble vases with chimes built into them (recreated during the reconstruction). On both sides of the pavilion there are marble statues with the allegorical meaning “Generosity” and “Fidelity”. At the main front entrance there is a monumental statue of Emperor Alexander III, depicting him on horseback (a masterpiece by the sculptor P. Trubetskoy), transferred here from the vaults of the Russian Museum.<\/p>\n

marble hall<\/h3>\n

\"Marble<\/a><\/p>\n

One of the main ceremonial halls – Marble, in which the design of the walls and ceilings has been preserved almost in an authentic form, is a unique example of the use of natural stone and natural wood in the interiors. After the reconstruction of Bryullov, the room from a 1-tier hall became a 2-tier one, which gave it great majesty. Illumination from above by the windows of the 2nd floor created spatial airiness. The walls of the hall are faced with specially brought from Italy and domestic marble of different grades and colors.<\/p>\n

wall decoration<\/h3>\n

The harmonious combination of marble colors in the wall decoration cannot but delight visitors. And the style of the Corinthian order perfectly demonstrates the advantages of this truly priceless material (marble). Pink marble pilasters with gilded bronze capitals and bases rest on a plinth that frames the walls. The panels separating the plinth are made of pale green marble brought from Italy and decorated with relief images of gray vases. Some decorative elements are made of lapis lazuli.<\/p>\n

sculptural decoration<\/h3>\n

\"Marble<\/a><\/p>\n

Famous Russian and Italian sculptors created highly artistic works of sculpture. Along the walls along the entire length there are round bas-reliefs (14) on the theme “Sacrifices”, made by F. Shubin and A. Valli. The space above the doors is filled with an elegant decorative composition (by Shubin). The decoration of the western wall is 2 bas-reliefs, amazing in terms of artistic expression, based on Roman mythology (M. Kozlovsky).<\/p>\n

Main staircase<\/h3>\n

\"Marble<\/a><\/p>\n

A necessary element of classical architecture – the main staircase, created from several varieties of colored marble, has largely retained its original appearance. Basically, silver-gray marble of the Ural Mountains was used in the creation of the stairs, the steps were made of greenish-silver (amulet color) sandstone, and the bas-reliefs and sculptures were made of white Greek marble. Everyone who begins to climb the stairs is “greeted” by a sculptural portrait of Rinaldi – a sign of gratitude and encouragement of merit from Count Orlov to the architect (author unknown).<\/p>\n

Artistic allegory in the design of the 1st floor<\/h3>\n

The main element of the decoration of the Main Staircase is sculptures with allegorical meaning. All of them are unique as the only example of allegorical sculpture of the 18th century preserved in St. Petersburg<\/a>. 4 niches of the 1st floor, bordered by marble shells, are marked by statues in the form of female figures, symbolizing the change of time of day: Night with an owl figurine (author unknown); Morning (goddess Aurora with the disk of the Sun); Noon (an arrow – a ray of the sun on a sundial) Evening is depicted in the image of Diana – the goddess of the hunt. All 3 statues are the undoubted masterpiece of F. Shubin.<\/p>\n

Sculptures of the upper floors<\/h3>\n

The niches of the 2nd and 3rd floors are decorated with 2 statues representing the days of the seasonal solstice: the Spring Equinox (the figure of a woman with flowers in her hand and the sign of Aries at her feet) and the Autumn Equinox – the figure of a man with a bunch of grapes in bulk. The platform of the 3rd floor is crowned with sculptural images symbolizing 4 fundamental virtues: justice, strength of the Spirit, prudence and moderation.<\/p>\n

Front reception<\/h3>\n

\"Marble<\/a><\/p>\n

\nAccording to the classical canons, the Main Reception Room, which is part of the series of halls of the Neva enfilade, is a significant room of the palace. Here, as well as on the Main Staircase, authentic design elements of historical and cultural value have been preserved.<\/p>\n

Colonnade<\/h3>\n

The monumental majesty of the hall is given by 8 columns, carved from domestic Serdobol granite, brought from the island<\/a>s of Ladoga. Gray-black shades of marble on monolithic columns create a solemn and official background that inspires respectful respect for the owner of the palace. The perfect polishing of the columns testifies to the enormous painstaking work of the masons.<\/p>\n

Reception decoration<\/h3>\n

The authentic stucco patterns that adorn the arches of the ceilings cause admiration. The decor was cleaned and re-gilded by restorers. In many places on the floor, fragments of 18th-century typesetting parquet have been preserved. from precious woods (the high skill of parquet flooring is amazing). As a result of the restoration in 2015, fireplaces lined with marble, door leafs, and a gilded bronze chandelier were restored.<\/p>\n

double-height hall<\/h3>\n

The largest room in terms of area – the Marble Hall became “double-height” during the reconstruction of the 19th century, when, by order of A. Bryullov, the ceiling was raised one floor higher. Illuminated by the windows of 2 floors, the hall acquired a majestic grandeur, received a new decoration in the neo-Gothic style and began to be called Gothic or White. An organ was installed in it, and evenings of music and dancing were held.<\/p>\n

Bryullov's reconstruction<\/h3>\n

The entire area of \u200b\u200bthe hall was divided into 3 parts, having installed supports to support the ceiling vaults. The “sheaves” of thin (Gothic) columns, resting like a fan against the vaults, served as the decoration of the supports. Marble columns with sculptural images of Russian heroes-knights were placed on the sides of the opening of the southern doors. The central wall in the middle was decorated with a luxurious marble fireplace, with a mirror built into it, framed by a gilded carved frame.<\/p>\n

Modern restoration<\/h3>\n

\"Marble<\/a><\/p>\n

For more than a year, the complex restoration of the White Hall lasted, during which they tried to return it to its former appearance, once created by Bryullov. A lot of work had to be done on the reconstruction of the type-setting parquet, unique in its pattern and variety of wood. Careful artistic work was carried out on the “resurrection” of the statues of Russian knights, stucco ceiling ornaments, sculptural images of double-headed eagles. The splendid bronze chandeliers and sconces shone again with gilding, the eastern windows of the “second world” opened wide.<\/p>\n

Greek gallery<\/h3>\n

To the north of the White Hall is an art gallery, called the “Greek” because of the decoration of its walls with artificial Greek marble. Otherwise, during the life of Catherine, this hall was called Orlovsky in memory of the royal favorite, who did not live to see the full completion of the construction of the palace.<\/p>\n

Gallery decoration<\/h3>\n

As in other palace rooms, highly artistic stucco ornamentation on the ceilings was widely used in the design of the gallery. The floor is covered with inlaid parquet of complex design from different types of expensive wood (it was completely restored after the reconstruction of the 21st century). The wall cladding, covered with artificial marble, was restored to its former appearance. Recreated luxurious gilded bronze chandeliers harmoniously fit into the overall look of the interior.<\/p>\n

Artistic content of the gallery<\/h3>\n

The main decoration and priceless rarities are paintings by the great Renaissance artists (206 canvases) Raphael, Titian, Rembrandt and many others. In the portrait hall, portraits of the Orlov brothers sitting on horses were placed in a place of honor. Portraits (91) of all the royal persons of the Romanov family and the ruling monarchs of Europe of the Catherine era were presented.<\/p>\n

Winter Garden<\/h3>\n

\"Marble<\/a><\/p>\n

On the site of the Hanging Garden, located on the terrace, during the Bryullov reconstruction (19th century), the Winter Garden was organized, combining the space of the 2nd and 3rd floors. As supports for the ceiling vault, powerful cast-iron columns were installed in the center, and on both sides of the semi-columns of cast iron, on which the ends of the arches of the vault rest. The room is divided into 2 parts – Garden and Flower Garden.<\/p>\n

Decoration of the Winter Garden<\/h3>\n

The steel ceiling of the 3rd floor is divided in relief by caissons, the arches of the vault are decorated with ornate decor. A marvelous mini-balcony, fenced with an openwork forged lattice, adorns the eastern wall of the garden (restored after restoration). The middle of the garden is occupied by a magnificent marble fountain (3 bowls), rising on a mosaic “carpet” of the stone floor. Carefully recreated 3 leaves of a massive glass door, with intricate wooden ornaments; According to old drawings, a marble mirror fireplace was built in the Flower Garden.<\/p>\n

Private apartments<\/a> of the Grand Duke Konstantin Konstantinovich<\/h3>\n

\"Marble<\/a><\/p>\n

Until 1998, the private chambers of Prince Konstantin were closed to the public, now his study, library, music and private rooms, and prayer room are open to the public. The apartments became the property of the prince on the eve of his 18th birthday, where he lived with his family until his death (1915). Being a diversified personality, not devoid of poetic talent, he made an office (fully preserved) and a library the main rooms in his chambers.<\/p>\n

Cabinet arrangement<\/h3>\n

In the interior design of the cabinet, natural wood and leather are mainly used. The walls, decorated with highly artistic paintings and portraits, are pasted over with gilded leather wallpaper, illustrated with royal coats of arms. The ceiling is sheathed in mahogany, furniture is made of different types of wood, oak parquet covers the floor. The prince's armchair, resting on the front “legs” in the form of gilded swans with raised wings, is a special rarity of the cabinet.<\/p>\n

Other halls of the apartments<\/h3>\n

In the interiors of other rooms, wood is also present in the design. The owner was especially fond of the Musical “Gothic” drawing room, decorated in an unusually picturesque Gothic style with openwork wooden panels at the bottom and pasted over with gray leather wallpaper with gilded ornaments. An elegant model of a Gothic temple, mounted on a panel, adorns one of the walls of the living room. An antique black lacquered grand piano symbolizes the purpose of the room.<\/p>\n

Owners<\/h2>\n

The change of owners of the Marble Palace, dictated by time and circumstances, can be lined up in a symbolic series.<\/p>\n

The first owner of the palace, the closest favorite of Ekaterina G. Orlov, adjutant general and holder of many other ranks and titles, became the owner of the palace, two years before its official opening (he died in 1783).<\/p>\n

Exhibitions and expositions<\/h2>\n

\"Marble<\/a><\/p>\n

In Soviet times, a branch of the Central Museum of V.I. was organized in several halls of the Marble Palace, which was the first example of using an architectural monument in a new capacity that meets the needs of society. The work on the reconstruction of the premises was led by the architect N. Lansere, and the museum was opened in 1937, a sadly memorable year for the country. The expositions of the museum acquainted visitors in detail with the life and revolutionary activities of the leader of the proletariat.<\/p>\n

Modern concept – propaganda of art<\/h2>\n

\"Marble<\/a><\/p>\n

Today, the most beautiful building in the northern capital, transferred to the Russian Museum, is a center for demonstrating works of “Russian art combined with world trends. Here, through permanent and temporary expositions and exhibitions, objects of painting, sculpture and other genres are widely presented. A variety of thematic exhibitions are regularly organized:<\/p>\n

In addition, temporary exhibitions showcasing world art are constantly held.<\/p>\n

Legends and traditions<\/h2>\n

Like all significant architectural monuments, the history of the Marble Palace is surrounded by myths. One of the legends says that when the foundation was laid, a box filled to the brim with royal coins was immured into it. Although there is no exact information about this, the rumors about the mysterious box continue to live. There is a legend about why the empress took away the palace presented to Konstantin Pavlovich. Allegedly for the fact that he, being 16 years old, shot live rats from a cannon, frightening his young wife. One of the legends tells of a secret door through which Catherine entered on a date with Orlov, when the construction of the palace was still underway.<\/p>\n

Where is it located and how to get there<\/h2>\n

The monumental building that adorns the historical center of St. Petersburg is located at:<\/p>\n

St. Petersburg, st. Millionnaya, N 5\/1 or Palace Embankment, 6.<\/p>\n

Metro stop. Nevsky Prospekt (Gostiny Dvor), go through the underpass to Sadovaya st. walk past the lattice of the Mikhailovsky Garden and the palace of the same name, cross the bridge of the river. Moika and along the Summer Garden on Millionnaya Street. exit to the Marble Palace.<\/p>\n

Marble Palace in St. Petersburg on the map<\/a><\/h2>\n