The Chinese Palace is located in the suburb of St. Petersburg - Lomonosov Town. This incredibly beautiful building is one of the main objects of the Palace and Park Ensemble "Oranienbaum".

Lomonosov enters the line Northern capitalFrom the city center to the destination approximately 40 kilometers, so it is best for an examination of the Chinese palace and other tourist objects of Oranienbaum.

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

Distinctive features of the palace were an abundance of threads, gilding, severe stucco and complex decorative designs. Rinaldi used in the design of the statue of famous figures and heroes of myths.

The foundation of the palace architect was licked on the granite terrace, lifting the palace over a common relief. Small kindergartens are broken before entering, surrounded by beautiful handicapped grids.

The northern facade of the palace is decorated with statues, large windows, rounded from above. Empress Bedroom Catherine II, which was founded by the Chinese Palace, located on the second floor, the chapel windows overlook the lake.

The main distinguishing feature of the Chinese Palace is its safety. The building reached us unchanged, practically not affected by the revolutionary and war years. At the time of the blockade, only one projectile slightly destroyed the chambers on the top floor.

Tourists are interested in why the palace has such a name: he does not look like that of Chinese buildings. In the 18th century, the chinoiserie was greatly distributed, which is in translation from French means "Chinese". Rinaldi was a supporter of this style, but he could not completely refuse Rococo. As a result, the palace became a combination of styles.

The main element of the inner decoration of the palace was plafones made by artists D. Majotto, F. Tsuno, Ditiani. Plafones give the palace specialiction and festibility.

The most beautiful room in the building is the hall of the music. The famous painter S. Torelli depicted nine music on the walls. The ceiling is an elegant stucco, reminding clouds. In the center of the composition - a large cessation "Celebration of Venus", depicting the goddess of love surrounded by the nymph.

In the glass office, the decoration of the 1760s was almost the original form. The walls are decorated with twelve huge glass panels in gold frames connected in a single composition: a fabulous forest with heat-birds. The best Russian gods worked on the creation of panels: the work took two years. The picturesque framework for the glass was created by the artist S. Barotzi. Details of the panel were made in a factory in Ust-Rudice - Oranienbaum's suburb.

In the large office, the main place is covered 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 of a bone of a walrus. Artist S. Barotzi depicted scenes from the life of ordinary Chinese.

The portrait hall is decorated with twenty paintings P. Rotary, harmoniously inscribed in the palace interior.

Tourists should pay attention to the unique floors of the Chinese Palace. A group of talented carpets produced an incredibly beautiful parquet according to Rinaldi drawings.

The Chinese palace is absolutely unique: nowhere in the world does not find buildings, so organically combining various styles of the 18th century with the original ideas of Russian, Italian and German masters.

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In the time of Peter I, the court employee (the first general-Gubernator of St. Petersburg) Menshikov was built by the Chinese palace in the town with an interesting name "Oranienbaum". It is still unknown which motives prompted to call it the "orange tree" (from Germ. "Oranienbaum" is an orange or orange tree). Currently, the Palace is part of the palace and park ensemble and is listed in the list of UNESCO cultural heritage.

History

The first mention of Orienbaum refers to 1710, when Menshikov A. D. decides to equip the palace with a park close to Kronstadt on the territory of the modern town of Lomonosov (suburb of St. Petersburg).

The architectural project was conceived under the parade residence by the sea, which meets its guests with an excellent panoramic view.
On a presented by Peter Earth, the main architects of the estate and Gottfried be started with the Karast river.

Later, possession enters the use of Peter III. On the territory of the park is the "fun" fortress Peterstadt.
After a palace coup in 1762. For Catherine II, its own cottage in the style of Rococo is being built on the estate. The addition of the ensemble is the Chinese Palace. Such a name was given to him thanks to the fashionable style at that moment (China's architecture).

Antonio Rinaldi becomes architect. The territory of the palace is equipped as a cottage for fun. Ekaterina herself after the coup to explain his thoughts like this: "I came fantasy to dissolve my garden in Oranienbaum ... I began to draw plans and smash the garden, and since I was engaged in plans and buildings for the first time, then everything went huge and awkwardly. In the breakdown of the garden, Oranienbaum Gardener Lamberti helped me. "

The main works end in 1775. The palace is decorated with a roller coaster and a stone hall, which became a kind of court attraction.

In 1831, the owner of the estate becomes the 4th younger grandson of Catherine II Mikhail Pavlovich.

At the end of the XVIII - early XIX century, the internal restoration is carried out under the leadership of the prece, rules (seating of floors and the reconstruction of the walls).

In the middle of the XIX century, the southern part of the facade is framed by the second floor under the project of the Shockenshneir and Bonstedta. On the first floor there appears a glazed gallery and anticamors on the sides.

In 1925, the Chinese palace is equipped under the museum. In 1935, the museum becomes a regime object of the cultural heritage of the USSR, to get to the territory of which is practically unable. During the war, the protection of the object is carried out by the rifle division of Kalinin under the direction of Safonov. All values \u200b\u200bare evacuated to Novosibirsk, Sarapul and Leningrad (St. Isaac's Cathedral). The palace is partially destroyed by the German shell entering the window of the 2nd floor, the windows are broken down and the army is trying to save the remains of the property.
The museum renews the functioning already in 1946 and receives guests with open doors.

In subsequent years, the building is constantly restored. In 2007, guests open 4 new halls. By 2023, they were going to completely renovate the museum.

Halls of the palace

Despite the fact that the palace is made in Chinese style, internal filling is replete with a European decor. The decoration of the halls is complemented by picturesque cloths and massive sculptures. All this is perfectly combined with a general composition: an ornamental smearing, painting of walls, gilding, thread, refined parquet and facing.

Front

The front (southern facade) used to be a lobby at the entrance of the Palace. It has a square shape. Her walls are decorated with canvas painted with oil. In the old days, the work of the Italian artist Torelli was conquered in their place. On the adjacent walls there is an ornamental painting Borozzi, made in the form of beams of greenery and colors.

The final note of the design is a stucco ceiling and a set of parquet with a pattern that repeats the same since the Board of Catherine II. The interior complements two carved gold-plated tables.

Wardrobe

The wardrobe room was first used for its intended purpose. It is located immediately behind the front and connects the southern part with the front entrance. On the walls you can see two pano, made in the genre of mythology. Despite the fact that the author is unknown, they are still called "Venus and Mars" and "Hercules and Omfala". There is also a fireplace in the hall, the walls are decorated with a thread with gilded stucco.

Figure parquet has not been preserved to this day, now the floor is decorated with a geometric pattern. Ceilings (hollow) are made in the style of the griezail.

Pink living room

The hall received its name on the color of the canvas, replaced by the former painting of the walls of 1894. Once it was a children's room of Paul, Catherine II son. In 1767, the gaming was painted by Barozzi on the theme of Roman ruins Herculaneum. Now there are copies and originals of portraits of the government on the walls of the hall.

Non-flowing

This name the front bedroom was obtained due to the pale green shade of the ton on the walls. The drawing of the valve reminds twisted silver plated lines with flowers of various shades. Furniture and fireplace are also covered with a cloth similar type.

One part of the bedroom (alcove) by a portrait of Paul in childhood and military attributes of the Catherine era. In another part of the room there are masterpieces of needlework - embroidery with cinevo and glass frame on straw. They are made by Russian craftswomen to the French manner. There you can see pictures of everyday life on nature, decorated in wooden frames with gold appliqué.

Boudoir

Previously, a picturesque office was located on the place of Bouire. His walls were completely tightened with paintings (on canvas). Now the room is decorated with carved Pano with painting Rinaldi (in nut). You can also observe the canvas of Jacopo Guarana with simple names "Painting", "Music", "Drama".

Cabinet Paul

This is a small room, which in 19-20 centuries was used as a bathroom. Now the walls of the cabinet are decorated with paintings on the canvas. There are small paintings with landscapes and hieroglyphs, decorated in the bizarre framework. The ceiling in the form of a hemisphere is unusual.

Music Hall

Is the best creation of the palace. He opens the anfilad of all other halls. When creating the interior, it was conceived to talk about the general of the arts. The room has an oval form of many large windows around the perimeter. That is why in the 18th century he was called a picturesque gallery.

Initially, the hall received its name because of the 9 muses drawn on the walls of the room: Calliopa, Urania, Terraticor, Eutterp, Klio, Waist, Melpomen, Polhymynia, Erato. All the muses are depicted in simpleness between windows and framed in the stucco ornament. The marble statues of Cleopatra, Lucretia, as well as the composition "Boy on Dolphin" are of interest.

Blue living room

Until the 1860s. The walls of the hall were decorated with a silk blue cloth. Therefore, he received the name blue. Later, the dilapidated cloth was replaced by Beijman's canvas, Albani, Wang Dequee. Basically, these were copies of the Hermitage paintings. For example, "Madonna with partridges", "Abduction of Europe". To date, only part of the decoration of the hall has been preserved.

Glass Cabinet

He is the most famous hall in the palace and retained a genuine finish at an initiated form, as it was even with Ekaterina.
The room is equipped with 12 glass cancons. The fiberglass itself was manufactured at the mosaic factory near Oranienbaum in the town of Ust-Rudica.

Pictures depicted fantastic birds, butterflies and plants. They were embroidered with Russian gold boards under the leadership of the French actress at the Russian court of Maria de Shel (Shen). The author was all the same favorite Ekaterina Barozzo. Together with the elegant design of walls, ceilings and floors of the office is considered to be a unique creation of that era.

Big hall

The big hall was conceived by the Catherine Palace Center. Despite the fact that it was intended for various balls and reception of guests, his finish was strict. Sometimes it is also called round, because It has an oval shape. The walls are processed by a decorative marble of various shades, the interior of marble columns are completed.

Here you can also meet bas-relief images of Peter I and Elizabeth Petrovna. The work performed a student Falcone on request Catherine Kollo MA There is a large fireplace in the hall, over which 2 Pano "Abduction of Ganymeda" and "Juno" Torelli are placed. A picture of an unknown Italian artist called "Selena and Endimion" is hanging above the door in the front door.

The ceiling overlap is fully made by stucco decor. This is a weave of branches, garlands of flowers, miniature wreaths and even birds.

Plastelling

The plaster is fully completed in the rococo style. The walls are painted in a purple color, so it is also called a lilac living room. Also there is a gilded modeling on the walls and the ceiling, hence the name "plaster", abundantly decorated. Interior complement the paintings on the love theme. The ceiling has a form of a dome arch (ellipse).

Information for visiting

• Mode of operation: Summer period from May 26 to September 30;
• Tour of excursions: from 10:30 to 18:00 (with the exception of individual);
• Weekends: Monday and last Tuesday of every month;
• Ticket price (2018): 200-500 rub. (free for children under 16).

• The palace was fully under the leadership of the Italian architect Antonio Rinaldi, who was invited to Russia Count K.G. Razumovsky. Subsequently, Russia has become a second home and homeland for Rinaldi.
• In total, there are 17 rooms in the Chinese palace. Cabinet Catherine, Small and Big Chinese Cabinet, Chinese Exculsive, Camelight, Portrait, Toilet - complement the list of halls for visiting.
• In the time of Catherine, the Palace is also called a Dutch house. Initially, he had small sizes and because of the abundance of trees, shrubs and flowers, completely unexpectedly appeared before the guests.
• All sleeping halls of Catherine II and Paul have never been used for sleep. Usually guests came to admire the luxury and design of her creation. In the receptions they danced, played cards and have fun. And to sleep went to the Meniashikov Palace, located nearby.
• To make a chinese style room specially traveled to China and Japan for porcelain, paintings, furniture and materials. The palace is especially famous for his parquet floors, which once replaced marble. For these purposes, a tree has been used by more than 20 breeds, including self-sewing, amaranth, black and brown wood, Persian walnut. Externally, the palace does not resemble Chinese. In addition, this is the only palace in Russia in Rococo style.
• Of particular interest in the interior of the palace are plaffones located on the ceiling. However, these are not those plafones about which we are accustomed to hear in the modern world, and canvas designed by Venetian artists and masters specifically for cladding the ceiling by order of Catherine. Each of them has its own name, and execution more than once became the subject of disputes between guests and favorites (mythology, allegory, pastoral).

Among them are most famous:

• Apollo and Art (Torelli),
• Paris Court (Barozzi),
• Diana and Aurora (Dicziani),
• Mathematics (Dzzziani),
• Urania, training young man (Majotto),
• Time kidding truth (unfortunate),
• Mars's rest (Thipolo),
• Day running night (Torelli),
• Meeting of the Orfex of the Sun (Tsuno).

Some tourists managed to see and even chat with ghosts. The last owner of the palace was the Duke of Mecklenburg-Strelitsky. He died on the eve of the revolution, and his little daughter a few months later. Since then, passersby often hear the knock of children's heels in the park.
Others see the silhouettes of people destroyed in the vintage outfits and the tricons, as well as ghostly transparent figures.

The Chinese palace in Oranienbaum was a reception of the residence of Catherine and her heirs. All sketches and sketches of the queen were embodied in reality thanks to the adjustments and amendments to the Italian Antonio. The manor is of interest to hunter tourists for the ideas of ancient, as well as fans of gardening art.

The Chinese palace is part of the Grand Palace and Park Complex "Privacy" Empress Ekaterina II. The construction of the palace was carried out by Architect Antonio Rinaldi. According to his project, a large rectangular pond was pulled in front of the southern facade of the Chinese palace, on the left bank of which the Freinty house was built, and the right to take a place for a coffee house (the project of this construction was never implemented). The eastern facade of the palace, already abroad of his own cottage, a kitchen housing was built.

In the middle of the XIX century, the Chinese palace acquires new outlines. Great Princess Elena Pavlovna produces big conversion here. According to the project of architects L.L. Bonstedta and A.I. The second floor was soldered, a glazed gallery appeared, supplied under the balcony that appeared at the same time and connecting two rizalites from the south, from the east and the west to the end parts of the building were attached small anticarne premises.

If the appearance of the palace has undergone changes, then the interior decoration has been preserved, more than its part, from the XVIII century. The Chinese palace embodied the trendy influences and aesthetic addiction of the XVIII century, all the decoration of the palace is carried out by European and Russian masters artists with an amazing fantasy.

The Chinese Palace, a brilliant sample of Rococo style in Russia, is considered to be the pearl of the palace and park ensemble Oranienbaum. Absolute authenticity makes this multi-sided suburbs unique, highlighting it from all imperial residences that brilliant necklaces are framed by the Northern Capital

Land on south Bank Finnish GulfAt which Oranienbaum will subsequently be located, Emperor Peter I complained to his pet, Prince Alexander Danilovich Menshikov, who led the construction of the Kronstadt fortress on the island of Kotlin. The construction of a large (Menshikovo) Baroque Palace began in 1711, and the date of consecration of the Palace Church - September 3, 1727 - is considered to be an end. The authors of the project were architects J. M. Fontana, I.G. Wesond and I.F. Brownshtein. In 1742, Empress Elizaveta Petrovna presented the estate to his nephew, the future Emperor Peter III. For him, the famous Italian architect Antonio Rinaldi houses the "funny" fortress Peterstadt and the miniature palace. Later, Oranienbaum becomes a summer residence of Empress Catherine II. The so-called "own cottage" of the Empress amounted to the Chinese palace (1762-1768), the Pavilion of the Catal Gorka (1762-1774), built by A. Rinaldi, as well as the surrounding top park.

Oranienbaum received its name from German toponym. The legend also reported to us the story of the orange trees cultivated here at the beginning of the 18th century, giving the city name and included in his coat of arms.

Catherine II, being another great princess, he chose for himself in Oranienbaum "cherished" corner. In his "notes", she recalls 1757: "I came fantasy to dissolve myself a garden ... But I knew that the Grand Duke would not give me any land of the earth, and therefore asked the princes of Golitsyn to sell or give me 100 tents for a long time Abandoned ... Earth, to which they owned near Oranienbaum himself ... They willingly gave it to me. I began to draw plans and smash the garden, and since for the first time I was engaged in plans and buildings, then everything went out with me huge and awkward. "

Ekaterina Alekseevna was able to embody Ekaterina Alekseevna in only five years later, with the work on the Russian throne. In 1762, the construction of his own cottage begins, and, above all, the "stone house and mountains". All work was carried out "under the look at A. Rinaldi and its drawings. Catherine II sometimes came to Oranienbaum, watching the construction of a Dutch house, or the Chinese palace. The housewarming in the Chinese Palace of Empress celebrated July 27, 1768. This Sunday day was marked by the Divine Liturgy in the temple of St. Panteleimon, and then a major meal took place in honor of the completion of the building of the Palace: High-alleged bishops, Archimandrites, together with nobles, have dinner and "died for the highest Emper Majesty Health."

In the 1770s, Empress often visits Oranienbaum and takes high guests here: not only "alien" ministers arrive with visits, but also the royal specialists - the King of Sweden Gustavi III, the Austrian Emperor Joseph II. On July 17, 1780, Catherine II first showed the palace to his grandchildren, great princes Alexander and Konstantin. Since 1796, Oranienbaum belonged to the great prince Alexander Pavlovich (the future emperor Alexander I), and in 1831 the residence passed into the sole ownership of his brother Mikhail Pavlovich. Later, the mistress of the estate was the spouse of Mikhail Pavlovich Elena Pavlovna, and then their daughter Ekaterina Mikhailovna, who married the Duke of George Mecklenburg-Strelitsky; Their children are George, Mikhail and Elena - owned Oranienbaum until 1917.

The Chinese summer entertainment palace was named thanks to the luxurious decoration of the four rooms, aged in the spirit of the presentation of the time of the art of the East. Other names are found: "The house that in the upper garden", "the house is small, its own imperial Majesty." And indeed, he is least suited by a loud definition of the "Palace" - he rather resembles a park pavilion, standing at a low stylobate that form a terrace.

Modest outwardly, the palace is striking by its inner decoration. Gilding and mirrors, ornaments of shells, floral garlands, curls, fancy curved frames, stucco patterns, whimsically running along the walls, hollows and ceilings, exquisite paintings, fired by the pearl haze - all this creates an atmosphere of stockiness and coziness. This is the style of Rococo, which existed for a short time in the XVIII century, but left in Russia a bright footprint - an exquisite and chamber Chinese palace in Oranienbaum. The stylized oriental motifs of decorative decoration and many genuine works of art of China and Japan give a special sophistication of Rococo interior. "The Chinese Palace is the only Pearl, an artistic work before all, before harmonious, so amazingly fulfilled - such a graceful, elegant trinket, which, looking at him, can not be housing ...", - wrote a famous art historian a . Benua. The interiors of the Chinese Palace are kept the primary decoration of the XVIII century: a rare collection of painting of Italian artists, beautiful samples of the Eastern and Western European porcelain, furniture of Russian and European masters. One of the main attractions of the Palace are unique parquets, made in the drawings of Rinaldi; They do not have equal in Russian decorative and applied art. Initially, the floors in the palace were filled from artificial marble. In the 1770s, they were replaced by typical parquets from a variety of wood rocks (they are up to 36) - oak, maple, birch, rosewood, samshet, red and black wood, Persian walnut, Sakhardan (brown tree), Amaranth and others. Parquets that are not repeated in any room are striking with their complex pattern and refined colors.

Glass Cabinet, Landberry Glass, Hall Muses, Blue and Pink Living Rooms ... Already these names themselves talk about the exclusiveness of the palace premises, their irreversive artistic and historical value. The journey through the halls of the Palace justifies the most demanding expectations: in the design of the interiors, Rinaldi used the richest arsenal of decorative forms inherent in Rococo style, reaching the harmonious relationship of the decoration of the palace and his architecture.

The center of the symmetric composition of the Chinese Palace is a large hall, from which the premises of the Paradinary Anfilacies are deployed along the northern facade. To the main volume of the building from the south at right angles, two wings are adjacent, including small abstracts; In Western Enfilad, there were personal orders of Empress Catherine II, the eastern - room of her son, the Grand Duke Paul Petrovich.

The front room served as the lobby originally; Here, in the center of the southern part of the palace, and today there is an entrance to the building. After an extension in 1853, it began to be used as a dining room to this room of an indoor glazed gallery.

The walls of the front in the XVIII century were decorated with paintings by the Italian painter-decorator Stefano Torelli, the student of the famous Neapolitan artist Francesco Solimena. Torerely arrived in Russia in 1758, leaving the service under the Saxon Royal Court. In 1764, the painter worked on the execution Winter PalaceAnd in 1765 I began to work in Oranienbaum, and a short time, the interiors of the Chinese palace were decorated with his talented works. In the 1850s, Torelli's wall paintings in the front were replaced by architectural landscapes of an unknown artist XIX century "Diana and Akteon" and "Landscape with Ruins". In the front, a picturesque shape of the work of S. Torelli "Apollo and Art" is preserved: the patron saint of Apollo and the images of female figures, personifying "three more concerned arts" - painting, sculpture and architecture, - a favorite plot in the art of that time. A picture of an unknown Italian artist of the XVIII century "Selena and Endimion" was placed above one of the doors. Mythological plot about forever fell asleep at the venue of Zeus a vain shepherd endimion and fascinated by his beauty the goddess of the night of the Selere is found in the Chinese Palace three times.

One of the fronts of the front has retained the remarkable drawing of the pattern ornamental painting of another Italian master, Seraphino Barozzi, who just like Torelli, worked directly in the Chinese palace. Supplements the decoration of the interior of the stucco decor of Houpe and the ceiling: shells, the leaves of acanta and other plants, flower garlands.

The front decorates the XVIII century set parquet, composed of several tree breeds - walnut, amaranth, birch, sandalwood, apple, pink and mahogany; His drawing, created by Rinaldi, is reflected in the stucco decoration of the ceiling, which gives the completion of the interior design. The fireplace made of artificial marble was created in the XVIII century "plastering Master" by the Italian Alberto Jani, who worked a lot over the manufacture of the original marble floors of the Chinese Palace. Its exquisite and elegant finish the front "sets the tone" the appearance of subsequent chambers and configures no less elegant decoration to expect.

The front should be a dressing room; From the West, it is adjacent to the pink living room, tying half the heir of Pavel Petrovich with a parade entrance to the palace. Initially, the room was used in direct appointment, but it is known that during the XVIII and XIX centuries, it also served as a buffet and library.

In the decoration of the dressing room, like other interiors of the Chinese Palace, painting, embodied the stories of antique myths. The central part of the ceiling is decorated with a picturesque ceiling "Court of Paris", performed by S. Barotzi; Above the door to the front is placed Panel "Venus and Mars", and above the entrance to the pink living room - "Hercules and Omfala" - the desesyports of the works of unknown artists of the Italian school of the mid-XVIII century.

The interior of the dressing room was repeatedly updated, and only a wall above the fireplace of artificial marble came from its primary decoration. The exquisite thread, which it is decorated, is harmoniously combined with namazy molding ornament. Parquet floors of a dressing room with a slightly monotonous geometric ornament were made later than the rest of the palace parquets, in 1819, and significantly inferior to them on the wealth and complexity of the drawing.

Small Eastern Avfilad of the Chinese Palace includes the personal rooms of the Grand Prince Pavel Petrovich, among which a spacious room called a pink living room, originally called the children's. The room had another name, as it is impossible to better definitely defining the nature of its decoration in the XVIII century - "picturesque antique." In 1767, S. Barotzi decorated the walls of the living room with painting on the topic of tragedy ancient City Herculanes who died in 79 during the eruption of Vesuvius volcano. Unfortunately, during the reconstruction of the Palace in 1852-1853, the picturesque panels from all four walls were removed. They failed to restore them, and the walls were saved with paper wallpaper.

In 1894, the wallpaper was replaced on canvas painted in light pink color, after which the living room and received its current name. At the same time, the walls of the pink living room were framed by the gilded stucco decor, which gave the interior of the originality and sophistication.

The pink living room retains the genuine stucco decoration of the housing and ceiling. The elegant telling grid is the main motive in the ornament of overlapping and prudent fragments - "reflected" in the drawing of a set of parquet, which gives the interior harmonious appearance and completeness.

"Mandatory" ceiling of the living room "Diana and Aurora" was written by the Italian artist Gasparo Ditiani. The allegory of changing the night in the morning is distinguished by a thoroughly thought out composition and a thin picturesque study. The aspect forwards of "Amours playing with the bird" and "Amours playing in soap bubbles" are created by an unknown artist in the XVIII century. In this room, they were transferred, probably later; Then their rectangular shape changed. Another superior composition of the dressing room - "Amours in the clouds" - was performed in the XIX century.

Next to the pink living room, on the axis of the Malaya Anfilad, there is a palp tree. This room received its name in the XVIII century, when its walls were tightened with light green (seledon) with a pattern in the form of wavy silvery tracks, wetted white and pink flowers. The front bedroom of the heir to the throne, Cesarevich Pavel Petrovich, is divided into two parts, a smaller of which is alcove. Being part of a purely intimate, alcove is decorated with an exquisite thread with delicate floral and vegetable motifs, but since the fever was intended for the heir to the throne, the future commander, the decor includes military attributes - pipes, banners, arrows. In the depths of Alkova, the children's portrait of Pavel Petrovich, Alexey Antropov, is located. According to both sides of the alkalo, topped with a gilded cartoon in the form of a shell, in niches, placed gilded shelves with small vases of Maisen porcelain of the middle of the XVIII century.

In another part of the calf, square, special interest is of an unusual overlap in the form of a sailing arch, lined with artificial marble. This is the rare example of using such a material for decorative overlap decoration. Pale pink marble is supplemented with vegetable and rocial patterns of gilded and white modeling.

Figure Parquet Parquet, traditionally for the interiors of the Chinese Palace, consonant with a ceiling decor. In addition, he reminds about another important feature of the palace parquets - neither the composition of their set, nor the color combinations are repeated anywhere. Parquet Parquets from Walnut, Amaranth, Rosager, Samshet, Lemon, Birch and Black Tree In 1772, the Russian craftsmen "under the look of" Talented Master Johann Petersen were fulfilled.

The interior color palette perfectly complements the pinkish green fireplace from artificial marble. Among the samples of the furniture decoration are the Ladies' Bureau and the Music Table of Work of the French Masters of the middle of the XVIII century.

Pavel Petrovich's office, adjacent to the talker, is separated from the rest of the alcohol. This room is due to its miniature (less than six square meters) was also called "Cabin Tick." The walls are decorated with ornamental paintings by S. Barotzi, which includes Chinese marble and wooden plates with carved figures, hieroglyphs and landscapes. The picturesque ceiling "Geometry" was filled with the G. Ditiani: Allegorical women's figure shown on the canvas with a globe and a circulation in hands and amrages, drawing geometric shapes, they say that the room was intended for educational sessions of a young heir. The Avfilado of Pavel Petrovich's rooms is completing the Boudois. In the XVIII century, this room, the walls of which were tightened with picturesque canvas, was called the "picturesque cabinet." The current appearance of the BooR found its current appearance in 1853, when the paintings were replaced by walnut panels displaced from chamberunfer (or toilet) on half of Empress Catherine II. Three picturesque canvas are included in the wooden panels - allegorical paintings "Music", "Painting" and "Drama". Their authorship is attributed to Jacopo Guarana, who also played the Fauar Marsht and Flora.

Furniture decoration of Bouire make up the elegant French bureau of the rosewood tree and Dutch chairs made in the XIX century. Among the jewelry of this interior, porcelain predominates: Chinese vases of the middle of the XVIII century and English - with the painting of the end of the XVIII century.

The elegant and festive hall of the Music, which was intended for concerts, reveals the anfilade of the Parade halls of the Chinese Palace from the East. He is symmetrical to a large Chinese cabinet located in the western building of the palace. With its elongated proportions, this interior resembles a gallery, and six large glazed windows-doors located on three sides, give it similarity with an open elegant park pavilion. Here, the words of A. Benua, who compared the Chinese Palace "in its purely musical effect ... with Hydena and Mozart Sonatas, perceived. The hall of the Muses that keeps his original finish belongs to the number of the most significant palace interiors of the XVIII century.

In the XVIII century, the Museum Hall was named the "picturesque gallery", which corresponded to the dominant role of painting in his decoration. Temperal paintings of the painter-decorator S. Torelli cover walls and holly, and the shape of the work of the same Master "Venus and Grazi" ("Celebration of Venus"), made by oil, crowns. Small compositions on the hollows and the ceiling, written by light paints, alternate with a light ornamental smearing. All decorative design of the hall of the music is subject to a single artistic plan that gives this amazing interior a harmonious appearance.

Among the furniture decoration, the hall is especially noteworthy, carved gilded banquettes, made in the drawings of A. Rinaldi and designed specifically for this interior. Here you can see a variety of items from the Chinese and Japanese porcelain, as well as a marble sculpture "Boy on Dolphin" - Masterfully made in the middle of the XIX century a copy from the work of the Italian sculptor of the XVI century Lorenzo Lorenzetto, in turn Sending us to the drawing of Rafael, who was inspired this work. On the sides of one of the doors, marble busts of Lucretia and Cleopatra of Venetian work of the XVIII century were installed.

The most famous event that happened in the Hall of the Muses can be called a magnificent celebration on the occasion of arrival in Russia in 1818 by the Prussian king Friedrich Wilhelm III, "I had to bless the cradle of my newborn grandson," the future of Emperor Alexander II. July 2, 1818 in this hall "After Fireworks, Dan was a brilliant ball." Next to the hall of Muz is the blue living room, connecting the halls of the front abrasion with the rooms of Pavel Petrovich. Until the mid-1860, the living room was tightened with blue silk, thanks to which he received its name. At the same time, the interior appeared the canvas, performed by the Russian artist A. Beideman: two canvas with images of Amurov - with a horn of abundance and grape brush, as well as free copies from the Hermitage originals - a fragment "Madonna with partridges" A. Van Dequee and "Abduction of Europe" F. Albani. Brushes Beijman attributed to the big author's work "Triton and Neret", which makes the walls of the wall around the fireplace; However, this composition cannot be attributed to the creative luck of the famous artist, since it lack expressiveness and dynamics. The blue living room is richly decorated with painting XVIII century. The ceiling is decorated with a flanfer of the Italian artist Francesco Tsuno "Time, kidding truth", which also has the second name - "Time and Knowledge". Like a number of other palafones of the palace, the work of Tsuno is a typical example of allegorical, with an abstract plot, compositions, very popular in the XVIII century. The artist unfolds with us a dynamic abduction scene, in the center of which two figures are depicted - a strong, muscular winged elder, personifying time and its frequency, and a woman representing the truth (or knowledge). The attribute of the elder is the braid lying at his feet, and the woman holds a circular in his hands. Amphitrite and Neptune, Amphitrite and Neptune, Ya. Guarana and the Italian Landscape, F. Tsukarelli; Over the mirror - the painting "Two Amur" brushes of an unknown artist.

Diverse presented in the blue living room of decorative and applied arts - Maissen porcelain, French watches of the XVIII century, carved gilded furniture of the 1760s of the work of Russian masters. Pardoughe and ceiling, parquet set on a palm background, an exquisite fireplace coming to us a genuine view of the seating area of \u200b\u200bthe XVIII century.

The interior of the blue living room and other premises of the Chinese Palace at the beginning of the 20th century was captured in a series of watercolors, made for the last owner of the Chinese Palace - the Great Princess Elena Georgievna, who wished to perpetuate him unique look. Watercolors with images of the halls of the palace and details of their decoration were part of the album called "Oranienbaume, plans and cuts of the Chinese Palace in Oranienbaum, filled with former students of the St. Petersburg Central School of Technical Drawing of Baron Stiglitz", formed in 1911 and kept in Elena Georgievna's Personal Assembly; Nowadays the album is located in the State Hermitage.

The magnificent glass office preceding the large hall is rightfully considered to be a global masterpiece of the art of the interior. This brilliant Rococo style sample is primarily famous for its glass panels. Twelve handmade panels are presumably made according to the drawings of S. Barotzi in 1762-1764 by nine craftswomen: Anna Andreva, Avdota Loginova, Tatyana and Lucker Kuús, Praskovy, Matrey and Avdota Petrov, Cleopter Danilova, Maria Ivanova under the guidance of Franzewoman Marie de Shell , the former actress, who organized the workshop "Sewing for the rooms of Her I. V. Wallpaper and other jacies." The glass was made on the Ust-Ruditsky Mosaic Factory, which was founded by M. V. Lomonosov in the vicinity of Oranienbaum. Embroidered panels with exotic scenery are enclosed in gilded gilded frames of exquisite threads, imitating wood trunks, seized with leaves, flowers and bunches of grapes and topped with dragons figures. If you remember that initially the floor in the office was dialed out of smalt (colored glass tiles), made on Ust-Ruditsky Factory, then it is easy to present the created effect of an extraordinary fabulous extravagania painted by the eastern flavor. The initial unusual finish of the floor gave the office the second name - "mosaic peace." Work on the set of mosaic floors, which began in 1763, lasted four years. Head of the works of J. Martini on December 12, 1767 reported on their end: "Masaic floors available in Oranienbaum are readiness and in place are posted, and the workshops from that work are not found."

Catherine II, with pride showing the palace to his guests, especially highlighted the glass office, who had, according to the expression of that era, "Preserisy View". The Empress often took high visitors here: Thus, on July 27, 1774 "In the room that the glass wallpaper took on the audience of Cesar (Austrian. - Yu. M.) Ambassador of Prince Lobkovich."

By the middle of the XIX century, the mosaic floor was in disrepair, and in 1856 it was replaced with a typical parquet, however, and in a new material retained the previous picture.

Two genuine masterpiece of decorative and applied arts are stored in the glass office - unique tables performed at the Peterhofa granite factory under the leadership of Master Jacob Martini. Countertops with wavy edges are decorated with the most complex compositions scored from non-ferrous Lomonosov Schail; Even underlying and legs of these elegant tables are decorated with a smalt orange. The table top of one of them is a landscape composition framed by a geometric ornament: a narrow pyramid resembling park obelisks, surrounded by fragments of the ruins of ancient structures. On the other table with amazing accuracy depicted geographic Maps, notes, books, compass, globe.

The big hall, the central premises of the palace, in the documents of the XVIII century, also referred to as the receiving, round, oval or just hall. Decorated in the spirit of solemn upness, it was intended for official receptions and trapes. Most visits to their own cottage Catherine II ended with dinner in the Big Hall. The recordings about this "are often found in a championship journal: how, on July 19, 1769" ... at 10 o'clock EVI (her imperial majesty. Yu. M.) deigned to eat evening dishes in the circular hall in which they were delivered in four corners. .. on the table, there were 8 persons on tickets for each of the tickets. "Among the" Persons "then were Austrian, Prussian, Swedish, Danish, Dutch Messengers, English Ambassador, Saxon Minister, as well as their spouse and close to the Empress Cannoda. 27 July 1774, the Empress "I pledged to hand in the hall ... foreign ministers," and then a solemn dinner of ZZ "Four round tables" was held with the participation of diplomats, which was in honor of the conclusion of the Kychuk-Kainardzhi world, which was sent by Russia's victory in the Russian-Turkish War 1768-1774.

Unlike other premises of the palace, the interior of the Big Hall carries the features of a new style - classicism - and anticipates the subsequent interiors created by Rinaldi in St. Petersburg, Tsarskoye Selo, Gatchina. The appearance of this parade hall of strict and magnifying it, its decor is sophisticated-noble and laconic. Walls and three-solid Corinth columns are decorated with artificial marble of different shades. The large lounge is blocked by a low dome, cutting round windows - lumbers, which serve as a source of natural light. Through large doors, glazed to the floor, a picturesque view of the partner garden and a meadow, passing to the park.

The eastern part of the Card Anflad Palace opens the plastering peace (called the lilac living room), which retained his primary stucco decoration, which was reflected in the name of the interior. The nature of this cozy room, its size and decorative decoration are significantly different from the solemn large hall, as it was intended for recreation and intimate conversations, which the whole corresponded to his artistic decoration.

It is rich in the picturesque design of plastering rest: on six canvases that adorn his walls and ceiling are depicted by gallant scenes with the participation of mythological and literary heroes. All paintings are devoted to the topic of love and reflect the sublime feelings of heroes. Among them are the work of S. Torelli "Selena and Endimion", which is considered one of the best works of the Italian master. The author of the painting "Aphrodite and Adonis", presented in plastering, was the Italian painter of the XVIII century Pietro Rotary. Even before the arrival of Russia, the artist enjoyed European glory thanks to the many chamber portraits performed by him, similar to those that make up the picturesque decoration of the Palace's portrait room. "Aphrodite and Adonis" - rare in the work of Rotary an example of a large canvas with a complex composition on mythological plot.

Desundeports of plastering rest - "Venus" and "Mars" - also belong to Torelli's brushes. Placed opposite each other, these pictures are plotted with each other: according to myth, Mars, forgetting about military exploits, dwells in love longing, dreaming about Venus. It is known that his niece, a young beautiful native of Bologna, was a simulator who posted the artist. The picturesque F. Tsuno "Orpheus, meeting the sun", who was interpreted by both the "Anthem of Venus", elapsed with the myth of Venus, and as "Anthem Venus": the young man Orpheus, playing at the harp, chants the beauty of the Goddess of Love.

The furniture decoration of plastering rest is carved gilded banquettes and the stools of Russian work of the 1760s, as well as the French Bureau of the Set of Tree of the same time. The living room is decorated with Maisen porcelain groups made in the 1770s in models M.V. Sury. In the set of parquet, made in Figure A. Rinaldi, used red and pink tree, rosewood, palm tree, birch, apple tree.

The style of "Chinese", which was widespread in the art of the palace interior of the XVIII century, received his bright embodiment in the Big and Malse Chinese Palace Cabinets. A peculiar understanding of Russian and European masters of a distant exotic culture was expressed in the architecture and design of a small Chinese office, the penultimate in the Avtilade of the Paradinary Region. Its interior is in a certain contrast with the previous premises of the palace, which leave the impression of stocky, smoothness, calm sophistication because of bright colors and rounded forms. Clear rectangular architectural planes, contrasting, sonorous colors and strict geometric ornaments in combination with an intricate vegetable pattern and finely drawn scenes from Chinese life create a unique look of this interior.

The walls of the cabinet are tightened by recreated along the preserved initial samples of green silk, painted images of exotic birds, butterflies and flowers. China's lacquer furniture and Japan XVIII century corresponds to the nature of the decoration of a small Chinese cabinet: a Japanese wardrobe-secreter of red varnish with painting gold and black lacquer wardrobe with overlaid chasing jewelry made in China.

In the style of "Chinese" in the middle of the XVIII century, Russian masters made a black furniture headset, decorated with oriental ornaments. East China perfectly complements the decorative ensemble of the Cabinet: the fireplace presents the figurines and a vase of the green family of the late XVII century; The console is decorated with a vase XVIII century.

The half of the Chinese Cabinet, made by Maskob Langa in Figure Rinaldi, belongs to the number of the best samples of the set of parquet, both by the wealth of the pattern, and on the brilliant skill of using the shades of the color of various breeds of the tree - the red, pink, black, brown, sandalwood connected here, Ebenic tree, striped nut, lemon, samshet, amaranth, rosewood, birch, apple tree. The parquet includes curly inserts with Chinese hieroglyphs and a skillful image of a low vase with a branch of a flowering fruit tree. The wall contains a picturesque portrait of "Catherine II in front of the mirror", the author's repetition of the Swedish artist Vigilius Erixen. Cabinet is crowned by a ceiling of the city of Ditiani - the allegorical image "Fortification".

A small Chinese office in the XVIII century also had a second name - preside in, as he precedes the bedroom of Catherine II - Chinese crowd, which opened a small (Western) enfilade of her chambers. The Chinese felling also belongs to the brilliant samples of the "Shinozri" style ("Chinese"). The walls tightened by white atlas in the late 1760s - early 1770s were painted in the "Chinese taste" by the masters Fedor Vlasov, Fedor Danilov (who became academician of painting) and Yakim Gerasimov; Murals are finely harmonized with the solution of a slap, adorning the flower. The "graceful decorative fantasy of the XVIII century" called A. Benua Plafof "Chinese sacrifice", performed by Ya. Guarana, - a peculiar theatrical composition that the beauty of the drawing and the wealth of color is distinguished.

Large Chinese Cabinet, or "Chinese Gallery", - Interior, Symmetrical Hall of Muz, - Closes the Palace's Paradinary Anfilad from the West. The unusually spectacular and peculiar appearance of this hall is determined by the fact that Rococo style elements here are bizarrectically intertwined with the eastern motifs.

The ceiling of a large Chinese cabinet is decorated with a picturesque flanfer representing the allegorical image of the "Union of Europe and Asia", which is interpreted as a "Chinese wedding"; It is considered by S. Barotzi. On the sides of the Plafon - the images of Chinese rulers, Bogdyman and Boggy, made in the Gypsum Main Base Technique. Carved oriental ornaments, stucco images of birds and dragons on the hollows enrich the decorative palette of the decoration of this unique hall, the author of which is S. Barotzi.

The walls of a large Chinese Cabinet are decorated with a set of wooden panels made in the Marquetry technique. Mosaic made of thin plates of different breeds of wood depicts gallant scenes from the life of the Chinese on the background of water and mountains, pagodas and arbors, flowering trees hanging shoots and flying birds. These compositions are not solved spatially, but flat, in accordance with the canons of Chinese painting; Their plots should be read from top to bottom. Panels are composed of several tree breeds - Karelian birch, amaranth, rosewoman, Persian walnut, Samshatt, Maple, Pear, Apple, Chinars; Faces of people and leaves of trees are filled from a walrus. These unique compositions of the Masters team led by G. Stodmär have been created. It is equally exotic and a set of cabinet parquet from more than ten wood species, made in 1773 by I. Petersen. It is known that for the manufacture of parquets in this and other premises of the Chinese Palace in 1771 it was from "... the store office of the building released twenty types of overseas wood."

As you know, in the second half of the XVIII century, an intensive influx of the subjects of Far Eastern art continued, which was filled with special halls and cabins of country palaces. By order of Catherine II, a special caravan in 1762 and 1775 was sent to China, from where to decorate the Chinese palace, mostly a large Chinese office, furniture - tables, cabinets, screen, and porcelain, trays, wallpapers were brought. A variety of Cabinet furnishings include Chinese black varnish chairs with a golden ornament, Japanese cabinets of black lacquer with painting and chasing, boxes and boxes of red and black varnish, a wooden sculpture - the images of the God Show Blue and Goddess Si Vantum, bronze with the enamel of the smokers - traditional Chinese items Exports, almost a mandatory element of the "Eastern" interiors. Foundations are presented with refined Chinese and Japanese porcelain vases.

A large Chinese Cabinet used Catherine II for card games, a big lover of which she was. A records like the one that was made on July 28, 1774 are often found in the Camera magazine: "... I am played to the cards in the Chinese corner corner on 6 tables." Ambassadors of Spain, Prussia, Sweden, Saxony, France, England, Denmark and Cesarian (Austria), Heir Pavel Petrovich with his wife, Prince A. M. Golitsyn, A. A. Vyazemsky, Graphs G. G. . Orlov, N.I. Panin, Z. G. Chernyshev, A. K. Razumovsky.

Small Affilade Empress Catherine II, in addition to Chinese, is a chamber of chamber and portrait. The chamber-fleece adorn the magnificent images of the court ladies of the "small" (grand permanent) yard presented in the masquerade costumes and the personiform seasons, parts of the world and the elements. These eleven portraits do not claim psychological depths, but performed by the liveliness, their heroines are Milovoids and coquettes. The author of these works is the French artist Jean de Sampua (Sansua), who came to Russia in 1755. The images are made in the complex pastel technology - as they spoke in the XVIII century, "dry paints". The cold gamut of silver, blue, pale pink tones allows you to transfer the sophistication of young ladies who made up the heir to the heir to the throne of Peter Fedorovich and his wife Catherine Alekseevna (future Empress Catherine II). The portraits were ordered by Spsua, reported in the letter of Catherine Alekseevna, English Ambassador Charles Williams on September 17, 1756.

Initially pastel portraits were in Big (Menshikovsky) Palace Oranienbaum. In 1820, they were renovated ("corrected") in the Imperial Hermitage, and also produced black with the gilding frame. Only in 1853 the paintings took their current place: Architect L. Bonstedt introduced them to the chamber of the chamberunfer, moved the walnut panels, previously drawn up its walls, in the Boudo on half of the Grand Duke Paul Petrovich.

In the chamberunfer, parquet, made by masters Ya Langom and I. Petersen in the 1770s; Its set is made of palm, birch, walnut, chinars, rosewood, maple, amaranth, red and rosewood.

The main decoration of the room called portrait, or the Rotary Cabinet, are twenty-two female portrait of the work of the Italian artist Pietro Rotary. This master of salon painting created hundreds of chamber portraits, many of which acquired Catherine II for its country palaces. Small paintings are mounted in a portrait wall and are associated with decorative molding ornaments. On shallow content, but the elegant and pleasing eyes of fashionable pictures depicts women's semi-phigures and heads.

Small Anfilad of Personal Region Catherine II ends with its office. A writing table made in France in the middle of the XVIII century, as well as part of the middle of the XIX century headset, made in the forms of Rinaldievska furniture, make up the decoration of this room. Here for a long time was kept a small personal library of northern seminimis, as the Russian philosophers called the Russian empress. In 1792, the books were transported to St. Petersburg, to the Winter Palace.

The Chinese palace is located in the southwestern part of the upper park. The Palace is spread by a glade with flower beds, and age-old oaks serve as side sides and background for him. In the XVIII century, the park was resolved in a regular French style, and the pool of proper geometric shape was "entered" in his composition. By the middle of the XIX century, the nature of the park plant has changed: the layout has become free, and the top park acquired a romantic appearance. The reservoir turned into a pond, and his shores took a softer outline.

As the Museum, the Chinese Palace opened in 1922. During the Great Patriotic War 1941-1945 Soviet troops defended "Oranienbaum Piglet", which did not allow the German army to occupy Oranienbaum. Damage caused by war did not distort the appearance of his monuments, and the skillful skill of the restorers only emphasized their highest artistic advantages. In the summer of 1946, the Chinese palace first among other historical and artistic facilities Oranienbaum received visitors. In 1983, the State Museum-Reserve was created, which included three ensemble - Big (Menshikovsky) Palace with the Lower Garden, Peterstadt and their own cottage. In 1990, due to its uniqueness, these art facilities were made by UNESCO to the list of world cultural heritage of mankind.

Today in Oranienbaum, in addition to the Chinese palace, a large palace, Palace of Peter III Pavilion Catalon, "Stone Hall", Chinese cuisine. Acquaintance with these monuments provides a unique opportunity to feel the atmosphere of past times and join the priceless artistic heritage, world and Russian. In the coming years, significant restoration works are planned, which will allow Oranienbaum to meet his three hundred anniversary.

Marble

Amur and Psyma
XVIII century
Copy from ancient original II century BC.
Marble

Three Graces
Unknown sculptor. France
First half of the XIX century
A copy of the marble group of J.Pilon, made for the tombstone of King Heinrich II XVI century
Bronze

And she
Unknown sculptor. Italy
XVIII century
A copy of the works of L.lotto (Lorentzetto). XVI century
Marble

The Chinese palace can be deservedly called the Treasure of the Park in Oranienbaum. The name "Chinese" appeared for the reason that in the XVIII century, in the times of Catherine II, the art of the subway (style of Shinoazri) is becoming popular in Europe and several palace halls are decorated with the use of oriental motives. However, the art of China is very voluntarily interpreted by artists of that time.

The value of the palace is that in it the genuine interiors of the 18th century (unlike other royal residences of St. Petersburg, which were destroyed during the Second World War) are preserved. Perhaps that is why the Chinese palace is open to visiting only in the summer, during the rest of the time it is closed, since the cold and wet air destructively affects the interior materials.

Mode of operation of the Chinese Palace - Summer 2019

• Open from May 25
• From 10:30 to 18:00
• Individual visitors are allowed from 12:00 to 14:00 and from 16:00 to 16:45
• Weekends - Monday and last Tuesday of the month
• Casses close apart earlier
• The museum can be closed at high humidity or during rain.

Cost of tickets to the Chinese Palace - Summer 2019

• For citizens of Russia
  • adults - 300 rubles.
  • children under 16 - free
  • schoolchildren (from 16 years old), students and retirees - 200 rubles.
• For citizens of the CIS
  • adults - 300 rubles.
  • children under 16 - free
• For foreign citizens
  • adults - 500 rubles.
  • children under 16 - free

Chinese Palace - Description

The Chinese Palace has erected in the Upper Park in 1762 - 1768. Initially, the structure was one-storey, and its originality was that external design, as well as the inner decor, were carried out by one outstanding master - Italian architect Antonio Rinaldi.

The building is built in the style of Rococo, for which (unlike more magnificent and pompous baroque) is characterized by refinement, sophistication and delicate taste. The Chinese palace was not created for official receptions, but for the rest and entertainment of Catherine II and the people close to it.

The exterior design of the building was quite restrained and with the appearance it resembled a summer pavilion rather than the palace. At the same time, the inner decoration was surprised by her beauty and luxury.

A total of 17 halls in the Chinese palace, they danced in them, played cards and arranged feast. Moreover, each room was drawn up peculiar and distinguished from everyone else. As a decor, gilding and mirrors were used, stucco and painting.

Parade Anfilada (the main axis of the building) includes the hall of the music, a blue living room and a glass cabinet, a large hall and a lilac living room, a small and large Chinese office.

Perpendicular to the front enfilade are located two wings. In the eastern wing there were rooms of the Grand Duke Paul Petrovich (Pink Living Room and a Towder, Boudois and Cabinet), in Western - Catherine II (Chinese Exchange and Portrait, Toilet and Chamber of Commerce - a room for the duty of the court lady).

For registration of East style halls, many art objects were delivered from China and Japan. The Palace presents the art objects of the XVIII century - the picturesque canvas and the porcelain collections brought from the East and from Europe, carved gilded furniture created by Russian rackets and gates in the drawings of Rinaldi.

Special attention deserves parquet, characterized by a variety of drawing and color scheme. Initially, the floor in the rooms was made of marble, and in 1770 he was replaced by a typical parquet, to create more than 20 tree breeds, among them - a red, black and brown tree, as well as Samshat, Amaranth and Persian Walnut.

Halls of the Chinese palace

In 1850, the entrance to the building was moved to the eastern side, where a large anticammer was attached, which served anterior. Excursion to the Chinese Palace begins with this room, a kind of hallway. The monitor is installed here and while the band is going to watch a film about the history of the palace, at the door leading to the next Hall of Muses, cast-iron floor lamps are installed, made in the XIX century in Paris, and earlier they stood on the porch at the entrance to the anticamour.

Music Hall

The Hall of Muses, which is often referred to as a picturesque gallery for the anticarce. His walls are decorated with paintings by the Italian painter Stefano Torelli, depicting Apollo with Amurists and nine Muses, personify art. At the ceiling you can see the goddess of beauty and love Venus and her companions of grace.

Glass Cabinet

The decor of the glass cabinet is the most original. The hall is decorated with twelve panels embroidered with glass (long tubular shape beads). A glass base is made by an embroidery with darling threads depicting exotic plants and birds against the background of fabulous landscapes. Each panel is separated from the neighboring carved gilded frame. There are no analogues to the glass cabinet in the world.

Blue living room

Initially, the walls of this hall were decorated with blue silk, so the living room and called blue. Later, the dilapidated material was removed, and the walls were placed on the walls of the St. Petersburg artist Alexander Beiderman, created in 1862-1868.

Pink living room

The plander of the pink living room with the image of Diana is painted by the Venetian painter Gasparo Dzzia. The living room decoration is also two picturesque panels with the image of the Amur. Previously, the room was decorated with the main and chamber portraits of Catherine II. According to legend, a little Paul often played in this room, the son of the Empress.

Wardrobe

In former times, the dressing room was decorated with elegant furniture and picturesque canvas. Now you can see only a fireplace and a gentle-blue wall color decorated with carvings and stucco.

Big hall

The big hall is the main premises of the Chinese palace, also called it a foster and oval hall (the room has the form of an ellipse). The hall is located in the center of the main front abstract. The large hall served for receiving guests and therefore its design is characterized by rigor and solemnity. The height of the room is 8.5 meters, an artificial marble of various colors and painting, stucco and mosaic used in its finish. The presence of columns makes the interior to some extent classic.

Front

The front was originally served as the lobby, the guests were part of it from the central entrance. Their admiration caused everything around - a parquet floor, like a carpet, walls, painted Stefanno Torelli and a picturesque celane and art lamp (His authorship is attributed to Seraphino Barozzi and Stefanno Torelli),

Chinese Palace - From History

The Chinese palace was a summer residence of Empress Ekaterina II and amounted to part of the complex called "Own Cottage".

The structure was originally planned as a secluded pavilion in a secluded place and therefore he was not visible from afar. Alley, leading to him, are arranged in such a way that the palace, surrounded by greens, arose before the guests completely unexpectedly.

As a rule, Catherine II came to his own garden Oranienbaum with the retinue of noble guests, which inspect the halls, admiring their interiors.

At the same time, the palace building was not comfortable, since all the rooms in it were located at the ground level and the dampness was felt. Fireplaces were made of artificial marble and they could not be very quenched.

The halls of the Chinese palace were not adapted for a long stay of the guests, and were used only for informal techniques. Usually, after visiting Oranienbaum, the guests were returned to Peterhof - a parade residence, and if someone remained to spend the night, he held the rest in the Menshikov Palace. Crossing Catherine and Pavel Petrovich were also not used for sleep.

In the middle of the XIX century, the Chinese palace changes its appearance - the building has become higher for the floor, the gallery was arranged, which connected two risals (protruding the lateral parts of the building). The inner decor has also changed, but despite all the transformations, the construction has retained its originality and uniqueness.

In 1922, a museum opened for a general public was organized in the Chinese Palace. During the war years, Oranienbaum was not occupied and therefore in the post-war time he opened the first of the suburbs of St. Petersburg.

In 2009, a large-scale restoration of architecture monument began. Restoration of fragments of a unique decor is carried out thanks to those who have survived since 1901 and watercolors.

Antonio Rinaldi built a construction practically on Earth, and high humidity constantly destroyed the decoration of the rooms. In order to maintain unique interiors, during the renovation for the first time in 250 years, the heating of the building was arranged, and special sensors were installed in all renovated halls. With their help, the temperature and humidity of the air is controlled. Now the interior is not afraid of the outer temperature drops - in winter, the Chinese palace is heated, it supports optimal humidity of air and a temperature of 4.5 degrees.

The Chinese Palace is the only monument of Rococo style in Russian architecture. The architect Alexander Nikolayevich Benua compared the decoration of the structure - its patterns and ornaments, paintings and architectural details, with Gaidna and Mozart Sonatas.

Catherine II called the Chinese Palace "Basket with Jewels". With the completion of the restoration, the unique monument of architecture will become a real tourist pearl of Oranienbaum.

TOthe Itaist Palace is the pearl of the Palace and Park Ensemble "Oranienbaum".
This is the only monument of Rococo architecture in Russia. This year he celebrates his 250th birthday. An annoral restoration that returned to life a unique creation of the XVIII century has become a gift that returned to life. Alas, she is not finished yet, but will be allowed to the museum ...

The Chinese palace is not similar to any historical building, it is an exceptional sample of Russian Rococo in its value.

For the first time, the interest in China arose in Russia at the end of the XV century, when the merchants began to bring Far Eastern fabrics to Moscow. And by the middle of the XVIII century, all the more or less wealthy Petersburg houses were furnished with Chinese things. The royal court asked the tone in this fashion on the "Shinazri", Chinese style.

From 1743, Oranienbaum was owned by the Grand Duke Peter Fedorovich, the future emperor Peter III. His wife Catherine II after coming to power built in the upper park the complex of buildings "Own Dacha". The Chinese Palace is one of the most famous buildings This complex. He got his name because of the decoration of some rooms. There was a large collection of works of Chinese decorative and applied art and Japanese porcelain. The construction and decoration of the palace was engaged in the Italian architect Antonio Rinaldi.

The main attractions of the Palace - Glass Cabinet and Unique Parquets. Cabinet walls are decorated with 12 panels - these are canvas for which the stitching with glass and multi-colored patterned silk - cullen. Unique Palace Palace Parquets are scored from red and black wood, Amaranta, Samshat, Persian Walnut, Maple. "A genuine miracle, full of miracles of the eighteenth century," wrote Igor Grabar about the Chinese Palace.

In the second half of the XIX century, new owners of Oranienbaum - the descendants of the family of the Grand Duke Mikhail Pavlovich - significantly updated the buildings by changing their interiors in fashion their time. In the years of the Great Patriotic War, Oranienbaum was not destroyed, his construction was preserved and reached our days as genuine buildings of the XVIII century.

The Boudoar, named in the XVIII century the picturesque office, completes the Eastern Anfilad of the Region of the Chinese Palace.

The second phase of restoration works lasted four years. For the third year, undergraduate works - subfields and inter-storey overlaps were reconstructed; The building established a system for maintaining a temperature and humidity regime. And only the fourth year took the restoration of the interiors. The three halls of the Chinese Palace were restored: a tallery, the Boudois and the Paul I Cabinet. "We spent the most conservative restoration," Mikhail Batakovsky explained. - There was no reconstitution! "

Restoration to 2023 will be completed, but now the palace is open to visitors. Picturesque panels returned to the tallery: they are also restored. The budaire restored decorative panels with painting. In the office of Paul I on the walls, genuine painting of Seraphino Barotzi was opened, which during the restoration had to be completely removed.

"We managed to return to the palace a lot of genuine items and to disclose painting hiding under the layers of paint, - Tatyana Syasina, the keeper of the Chinese palace, shows a tallery. "Although many items we acquired anew." Describes the XVIII century not preserved, they appeared only in the XX century. But there are descriptions of things that bought the latest Oranienbaum owners - Mecklenburg-Strelitsky.

The XIX century is preserved - according to its sample and recreated up the upholstery. Mirror returned here, fireplace screen, other genuine things. Friends of the museum presented porcelain vases of Maissen manufactory - similar to them stood here 250 years ago. On the previous place, the shape of the work of Majotto was watered. On the wall panels under the windows, genuine painting of the XVIII century is revealed.

Until the fulfillment of the restoration, it is possible to get on the tour to the Chinese palace only by appointment.