![]() The ceiling mural was painted by a well-known student of the Russian School from the mid-18th century. Decorated in the typical Baroque interior style, the hall is filled with gilded wall-carvings, complex gilded pieces on the doors, and ornamental patterns of stylized flowers. The architect placed false windows with mirrors and mirrored glass on the opposite wall, making the hall more spacious and bright. The small room is lit by four windows which look out into the formal courtyard. The room was designed by Rastrelli in the mid-18th century. īeyond the Great Hall is the Courtiers-in-Attendance Dining Room. ![]() Interior of the Agate Rooms of Catherine Palace. From 1851 to 1852, Monighetti added the Turkish Bath. In 1817, Stasov built the Triumphal Arch commemorating the Russian repulsion of the French invasion of Russia. In 1809, Luigi Rusca built the Granite Terrace. Neyolov's Babolovo Palace was added by 1785, and in the 1790s, Quarenghi built the Alexander Palace. His Kitchen Ruin folly was added next to the Concert Hall. Quarenghi added a music pavilion and Ceres temple to an Upper Pond island. In the 1780s, Cameron added the Thermae as part of Catherine the Great's "Greek-Roman rhapsody", and started building the Chinese Village. Neyolov built the Opera House in 1778–79. Neyolov's Early Classicism monuments included the Upper and Lower Baths. Neyolov's Gothic monuments included the Admiralty, the Hermitage Kitchen and Red (Turkish) Cascade, and his Chinese motifs included the Creaking Pagoda and the Great Caprice. Antonio Rinaldi added the Chesme Column, Morea Column, and the Kagul Obelisk to commemorate the victorious Russo-Turkish War (1768-1774). Vasily Neyolov's 1768 master plan for Tsarskoye Selo was elaborated in 1771 by Johann Busch and implemented. Giacomo Quarenghi designed the Mirror and Silver Rooms in 1789, while Rastrelli's hanging gardens were pulled down in 1773. The Blue Room, or "Snuff-box", incorporated white and bright blue glass on the walls. The empress' Bedroom used Wedgwood jasper bas-reliefs designed by John Flaxman and George Stubbs. Cameron's Lyons Room used French golden-yellow silk on the walls, while the doors, stoves and panels used Lake Baikal lapis lazuli. Cameron's 1780s interior designs included the Arabesque Room with arabesque painted ceiling, walls, and doors, while Greek and Roman classical motifs were used on the wall vertical panels. The Main Staircase was replaced by state and private rooms such as the Chinese Room, decorated with Charles Cameron designs, and a new staircase built in the center where the Chinese Room had stood. ![]() Yuri Velten redesigned the south facade of the palace, while the side wings were converted from one-storey into four-storey Zubov and Chapel Annexes. īaroque architecture gave way to Neoclassical architecture in the 1770s, when Tsarskoye Selo became the summer residence of Catherine the Great's court. A New Garden was added, while the Old Garden was improved with a deepening of the Big Pond, connected to springs 6 km away, the addition of a Toboggan Slide, plus the Hermitage, Grotto, Island, and Mon Bijou pavilions. Construction ended in 1756, when the palace included 40 state apartments, and more than 100 private and service rooms. Other notable rooms included the Chinese Room with its porcelain and Coromandel lacquer panels, the Portrait Hall, the Light Gallery, and the Amber Room with Andreas Schlüter's amber panels, while 5 anterooms were connected to the Great Hall, which measured 860 square meters. Sculptor Johann Franz Dunker, master gilder Leprince, and interior painter Giuseppe Valeriani were some of the distinguished artists. ![]() Rastrelli's interiors were based on a Baroque style. Then in 1751, Bartolomeo Rastrelli undertook a major reconstruction effort, integrating several buildings, giving the palace its distinctive snow-white columns, sky-blue walls, with gilded stucco, chapel cupolas, and sculptures requiring almost 100 kg of gold. This included a Middle House, two side wings, a chapel, and the Conservatory Hall, all connected by four galleries with hanging gardens. In 1745, Zemtsov's pupil, Andrei Kvasov, working with Savva Chevakinsky, expanded the palace to be 300 m long. ![]() North side, carriage courtyard: all the stucco details sparkled with gold until 1773, when Catherine II had gilding replaced with olive drab paint.ĭuring the reign of Peter the Great's daughter, Empress Elizabeth, Mikhail Zemtsov designed a new palace and work began in 1744. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |