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Plan Winter Palace. 1. Jordan Gallery / First Floor / 2. Parade (Jordanskaya) Staircase 3. Field Marsh Hall 4. Petrovsky (Small Trone) Hall 5. Georgievsky (Large Timing) Hall 6. Military Gallery 1812 Years 7. Herbal Hall 8. Big Church 9 . Aleksandrovsky Hall 10. Halls of military paintings 11. Large living room 12. White room 13. October staircase 14. Golden living room 15. Raspberry Cabinet 16. BooR 17. Educational room 18. Bedroom 19. Rotunda 20. Library of Nicholas II 21. Small ( White) Dining room 22. Malachite living room 23. Big Arapskaya dining room 24. Concert room 25. Portrait gallery of the house of Romanovs 26. Big (Nikolaev) Hall 27. Avanzal
Slide 3.
Pages of history. Winter Palace is a grand structure that is the oldest building on Palace SquareBaroque built in style. Like any building in St. Petersburg, the Winter Palace is located in stories and myths. Officially, the construction of the Winter Palace on the project B.F. Rastrelli, began in 1754 and ended in 1762, but the history of its creation takes its beginning much earlier. On the spot, now the palace occupied in 1712 under Peter Great, it was forbidden to give the land of land to persons who did not belong to the maritime ranks. Peter the Great, wanting to build a palace on this place for himself, received permission to build as a ship's master of Peter Alekseeva and built there a residential "small house of Dutch architecture." In front of his side facade in 1718, the channel was broken, named by the Palace of the Winter Gallow. In 1711, it was especially for the wedding of Peter I and Catherine, the architect of Matorovsky, by order of the king began to restructure the wooden palace in Stone. But in the process of work, the architect of G. Motorovsky was removed from affairs and the construction was headed by Tresini. In 1720, Peter I moved from the summer residence in the winter. In 1723, the Senate was translated into the Winter Palace.
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Winter Palace in the XVIII century. (Portrait of Anna Joanovna) When the reign of Anna Ioannovna came, Count Bartolomeo Francesco Rastrelli, a brilliant architect of that time, offered her a project to reorganize the Winter Palace. According to his project, it was required to purchase, who stood at the time in the place occupied by the current palace, houses belonging to the Count Apraksin, the Maritime Academy, Raguzinsky and Chernyshev. Anna Joanovna project approved, houses were burned, and construction began. In 1735, the construction of the palace was completed, and Anna Joanovna moved to him. The palace looked somewhat different than there is now. In the opinion of those who entered the throne, Elizabeth Petrovna, he did not meet the requirements of the official residence of the Russian Empress. According to her order in 1754, the graph of Rastrelli must compile new project Winter Palace. Rastrelli, in accordance with the wish of Elizabeth Petrovna, tried to create a palace who could be proud of the Russian capital. The palace was attached to the appearance, which was preserved so far. 859555 rubles were allocated to work, which for that time was extremely modest for such a project. And, nevertheless, the author and his assistants managed to emphasize the wealth and diversity of the decoration of the Winter Palace. About four thousand people worked on its construction. It was possible to collect the best masters from all over the country. Nowadays, the Palace Square and the Alexandrovsky Garden were covered with shala, in which workers lived. The palace turned out, as they conceived, not like others.
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Winter Palace in the XVIII century. His facades are decorated with a diversity inherent in a diversity, each of which the architect gave a kind of interpretation. Strongly protruding wings facing the Admiralty Western facade form a parade courtyard. The same architectural solution was given to the architect the eastern Tarta of the Palace, the hidden building of the Small Hermitage. The northern facade, facing the Neva, is richly decorated with bunk white columns, creating a spectacular game of lighting. The main - southern facade, focused on the palace square, was cut into three entrance arches. Light green wall painting favorably contrasts with white columns. The decorativeness of the building is enhanced by whimsical bends of complex cornices and diverse windows. Their composition includes amur heads, lion masks, bizarre curls characteristic of the Baroque style. 176 sculptural figures on the roof, alternating with vases, revive the silhouette of the palace, emphasizing the dynamics of its forms. The building is striking and its scale. Inside it, 1050 top and residential rooms with an area of \u200b\u200b46 thousand square meters, 1945 windows, 1786 doors, 117 stairs, 329 chimneys. Total length The main cornice, the bordering building, is almost two kilometers. The whole system of external jewelry was designed to emphasize the height of the building with unprecedented at that time. This impression was intensified at the expense of columns located in two tiers. But in this luxurious creation of architecture Elizabeth did not have to.
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Winter Palace in the XVIII century. Portrait of Peter III. In 1762, the work was completed, and on April 6 of the same year, Emperor Peter III moves to a residence in the Winter Palace. He gladly watches the palace window, as the urban residents take off the trash remaining after construction work, thereby clearing the square in front of the palace, which seemed incredible. This simple decision suggested by Peter III General Politzmeister N.A. Corf. But Peter III did not have to enjoy the beauty of the Winter Palace for a long time. In 1763, Catherine II had already entered it, returning from Moscow after coronation. To her arrival, finishes of all indoor premises of the Palace with all the decorations available in it were completed. By the end of the XVIII century. There were up to 1,500 rooms in the palace, among which, according to a special luxurious decoration, and the works of art, it is necessary to allocate such halls as: a Romanov Gallery, which contains a collection of portraits of the sovereigns of the Romanov House, starting with Mikhail Fedorovich. St. George Hall in which the Golden Throne is standing with a large imperial coat of arms embroidered with gold on a red velvet background. The hall is decorated with marble columns and six magnificent chandeliers, and many other halls. A winter garden was created in the palace, with large trees - tropical and northern.
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Winter Palace in the XIX Century. The Winter Palace acquired its completion in the reign of Emperor Nikolai I (1825-1855). The grandson of the Great Catherine II and the younger brother of Tsar Alexander I, Nikolai entered the throne, severely suppressing the uprising on December 14, 1825 - the first organized performance against tsarism. The entire further policy of his reign was aimed at strengthening the power and authority of the autocratic power. Becoming the host of the Winter Palace, Nikolai to raise the prestige of the main imperial residence gives orders to expand the parade of the palace. First of all, he performs the idea of \u200b\u200bcreating a portrait gallery in memory of the victory over Napoleon in memory of the victory over Napoleon. Back in 1819, the painter George Dow was invited from England, who was instructed to write portraits of all Russian generals - participants of the campaigns 1812-1815. Dow, which helped Russian painters A.V. Polyakov and V.A.Golik, wrote 332 portrait of those who were still alive, and those who were no longer alive and who he wrote on the preserved lifetime images. In 1826, the famous St. Petersburg architect Krzysy (1775 / 77-1849) built in the Winter Palace a gallery with a length of 55 m, where they placed the written portraits. So a unique monument of military glory of Russia was created - the military gallery of 1812.
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The Romanov Gallery in the gallery placed portraits of representatives of the Romanov dynasty - from the founder of the Russian Empire of Peter the Great to the last Russian emperor Nicholas II. The gallery that was then called the name Puppeski, created after the fire of 1837. V.P.Stasov, who placed next to her, over the courtyard leaving the courtyard, a winter garden with a glazed ceiling. In 1886, it was decided to place paintings in the gallery, and therefore, according to the project of the palace architect N.A. Gornostayeva changed her finish. AT exhibition Hallarranged Patriotic War At the site of the garden, the exposition "Russian culture of 17 century" is located.
Slide 13.
Georgievsky hall. Georgievsky (Large Throne) Hall for which a special building was built, on the part of the Big Palace, was created in 1787-1795 with Catherine II according to the Dzhacomo Kurengy project (1744-1817). The new throne room was resolved in strict classic forms. A huge twisting room made a stunning impression. But the masterpiece kreparengy died in a fire of 1837. Emperor Nicholas I ordered "St. Georgievsky Hall to do ... all of white marble". Giving an extraordinary solemnity to the throne room White Carrara Marble delivered from Italy. The ceiling was decorated with gilded ornaments, the pattern of which is repeated in the parquet pattern from 16 colored wood. Above the throne place is the marble bas-relief "Georgy Victorious, striking the Dragon's spear." The St. George Hall due to the complexity of the marble facing was over later than other palace premises, and the entire official history of the Russian reigning house is connected with this room in 1841. The majestic and solemn decoration of the hall corresponds to its appointment: there were official ceremonies and techniques.
Slide 14.
Military gallery of 1812. The Military Gallery of 1812 - the most famous memorial premises of the palace - was built on the project of the outstanding architect Russian classicism K.I.Sysy (1775/77-1849) and was solemnly open on December 25, 1826, on the anniversary of the expulsion of the Napoleon's army from Russia. Here 332 portraits of the generals of the Russian Army, the participants of the war of 1812 and the foreign campaign of 1813 - 1814 were placed. The gallery had places for 13 portraits of the dead, whose images could not be found. Portraits were ordered by Alexander I artist George Dow. The meeting of the Russian emperor and a fashionable English portraitist occurred in the German city of Aachen, where the first congress of the Holy Union of countries - the winners of the Napoleonic army took place in the fall of 1818. In the depths of the hall on the end wall there is a parade portrait of Emperor Alexander I (filled with Franz Kruger). Near the front portraits, monarchs union states - Prussia and Austria. Portraits of Feldmarshal M.I. Kutuzova and MB Barkla de Tolly are located on the sides of the door leading to Georgievsky (big throne) hall. During the fire of 1837, all portraits were saved and returned to their places in restored by V.P.Stasov.
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Fire in the Winter Palace in 1837. In 1828, O. Rimferrane (1786-1858) was brought to work in the Winter Palace (1786-1858) - French architect, invited to Russia Alexander I in 1816. Working on the construction of St. Isaac's Cathedral, who was destined to become one of the grand constructions of the middle of the XIX century, Monferran at the same time creates new apartments in the royal residence. In 1833-1834, next to the main palace staircase, he builds two halls, which completed the formation of the main illumboy of the front halls of the Winter Palace, - Field Marsh and Petrovsky, dedicated to the memory of Peter the Great. After three years, everything created by Montferran and its predecessors in the winter palace died in the fire of unprecedented in the scale of the fire that occurred in December 1837. Fires in those days happened in St. Petersburg often, mainly because of the chimney heating, which was in the Tsarskoy Palace. In the first floor, under the Feldmarsh and Petrovsky halls, a palace pharmacy was located, in which the oven was driving around the clock. On the evening of December 17, 1837, the streams of smoke began to be seen in the Feldmarsh Hall. Alarmed duty staff caused a fire company outfit. Surveying the sideways, attic and basement rooms, the firefighters found a smoking rogue and poured all the water from Brainsboat. However, the reason for the occurrence of fire, which after a few minutes came out due to the collapsed wooden partition hall, was different ...
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Fire in the Winter Palace. Strong flame instantly covered overlapping: Palace fangled from above. It turned out to be saved. The fire rapidly spread along the walls, on a carved tree of gilded ornaments, picturesque plafones, waxed parquets. Today it is obvious that the constructive error of the architect O.R.monferran, which places the drywood in a narrow space, the fenced partition, and the use of wood as the main building material led to tragic consequences. The eyewitness of the incident A.P.Bashutsky was describing the finals of the Grand Fire, which was raging more than thirty hours. "The last clock of the Phoenix-building was solemnly sad ... We saw in the knocked out windows, as the fire wisen went on a deserted spacious, highlighting wide transitions, he was colole and slammed the marble columns, then boldly crossed the precious gilding, he merged into the ugly piles of crystal And bronze chandeliers of artistic work, then cut the luxurious brocade and land from the walls ... ". When Nikolai I, who returned from the theater, became obvious in the impossibility of stopping the swelling element, it was decided to: urgently endure everything from the palace. Furniture, dishes, crystal, chests with clothes, paintings, carpets, books, albums and other utensils - everything was folded right on the snow of Palace Square. So that the fire does not shift to the Hermitage, the transitions between him and the palace were broken, and the walls behind which invaluable artistic treasures were kept under pressure. The fire raged three days. By evening, on December 19, one gigantic burnt esks remained from the Winter Palace.
Slide 17.
Field Marshal Hall. The hall opens up a large front image of the Winter Palace. The interior was restored after the fire of 1837. V.P.Stasov close to the original project of O.The Monferran (1833 - 1834). The entrances to the hall, solved in a strict classic style, are accented by portals. Longitudinal walls are decorated with dual pilasters on which the antablement supporting choir is. In the decor, the chandeliers of the hall of military glory were used in the decament of the hall. Before the revolution, the front portraits of Russian Field Marshals were placed in the hall, which explains his name. The hall shows the monuments of the Western European and Russian sculpture, as well as artistic porcelain products of the Imperial Plant, created in the first half of the 19th century.
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Petrovsky hall. Petrovsky (small-tone) hall perpetuates the memory of the founder of the Russian Empire - Petra I. The hall was created in 1833 on the project O.-R. Monferran (1786-1858) and restored after the fire V. P. Stasov, almost unchanged. The decoration of the hall was the composition with the allegorical cannal "Peter I with Minervoy" J. Amikoni. Elements of the imperial attributes are the monogram of Peter the Great, the crown, the two-headed eagles - occupy a special place in the decoration of the hall. The picturesque images of the famous battles of the Northern War - Poltava Batlia and the Battle of Forest - allowed contemporaries to perceive this room as the "Palladium of Russian Majesty and Glory". In the hall of Peter I is located historical relic - Throne Empress Anna John, made by Master N. Clausen in London in 1731. The wooden base of the throne was messed up into a massive cordated silver, on the back of silver embroidered national emblem Russia.
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Winter Palace. 1853 year. The unprecedented fire was completely destroyed by the magnificent finish of the royal residence, era, a whole epoch in the history of the palace. It seemed that the palace would not be revived. However, the effects of fire were eliminated in unprecedented short time: during 1838-1839. And in the spring of 1839, a large solemn reception was held in a re-trifted parade halls dedicated to the resumption of the Winter Palace. It can be argued that on scale and complexity it was unprecedented for his restoration time, which the practice of world architecture did not know.
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Revival of the Winter Palace. The revival of the Winter Palace after the fire of 1837 is, above all, the merit of two outstanding Russian architects of the XIX century - V.P.Stasov (1769-1848) and A.P. Brullova (1798-1877). V.P.Stasov recovered the front part of the palace and led by common construction work. The task that stood in front of him was very complex. In a short time, the architect had not just to return his old splendor to the palace, but also to give all the parade halls the appearance, which responded to artistic tastes and views of the Nikolaev era - the time of the highest power of the Russian Empire, who became over the victory over Napoleon the Great European Power. On this ideological side, Tsar Nicholas I was especially insisted, which personally made a thematic program for decorative design of restored halls. Finally, it was necessary to provide all measures to forever exclude the possibility of a new fire. Stasov brilliantly solved this task, creating a monumental complex of the frontal halls, united by the nobility of the classical style and the idea of \u200b\u200bthe greatness of the Russian Empire.
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Revival of the Winter Palace. This idea has found its expression in the grandiiness of the halls, in pomp and at the same time strict thoughtfulness and rationality of jewelry, in the wealth of materials used, in motifs and plots of wall paintings, stucco, paintings, sculptures, decorative items, finally, in a solemn rhythm, in which the halls, Following one after another, line up in magnificent abstracts. All major official palace ceremonies were held here: solemn techniques, great-speed balls, the highest outlets. Halls along the Neva and the Great Parade Anfilad, which go deep into the Winter Palace to the Great Throne Room, connects the main staircase. Immediately at the main staircase, the first hall of Big Anfiladers is Feldmarsh. There were usually officers of the Palace Guard and the divorce of the palace guard took place. Decorated with portraits of Russian Feldmarshalov, the hall was to remind the military glory and the relics of the Russian Empire. Stasov recreated the Field Marshal Hall as it was built by Monferran. In addition, in accordance with the idea of \u200b\u200bits predecessor, he restored the neighboring Petrovsky (small throne) hall.
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Revival of the Winter Palace. The architect of Stasov, next for the Petrovsky Herbal Hall, designed on his own project. He significantly increased the length of the hall, and the Square of the coat of arms (second largest in the winter palace) was now 1000 sq.m. Using the composition of the column hall characteristic of Russian classicism, the architect has achieved a solemn impressivity of heavy, all the steadfit columns of a luxurious Corinthian order lying on them upper galleries and porticors framing inputs. On both sides of the entrances were the sculptural groups - Russian Vityazi with spears, on which shields with the coat of arms of the Russian provinces were strengthened. (Now they are strengthened at the edges of the gilded bronze chandeliers adorning the hall.) The coat of arms and gave the name of the hall, which personified the unity of the empire and the emperor: here were the receptions of the state officials of the cities, the provincial nobility, classes. Nowadays, the stampal hall, like many other halls of the Winter Palace, is an exhibition room. The richest collection of Western European silver XVII-XVIII centuries is exposed in the coat of arms.
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Herbal Hall. Each of the next hall, Anflada became another link in a complex picture of the symbols glorifying the fatherland. The stamp Hall of the Winter Palace, designed for the solemn ceremonies, was created by V.P.Stasov at the end of the 1830s. In the style of late Russian classicism. The images of the arms of the Russian provinces are placed on the chandeliers of gilded bronze. The entrances to the hall flank the sculptural groups of the Old Russian warriors. Slender Colonnade, carrying balcony with balustrade, frieze with an ornament from acacan leaf, and a combination of gold with white creates the impression of greatness and solemnity.
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Gallery of the Patriotic War of 1812, the Gallery of the Patriotic War of the Patriotic War is adjacent to the Immubo House of 1812. All portraits of the gallery during a fire were made of fire and saved by the soldiers of the Guards regiments. Stasov got the opportunity to restore the gallery in its original form. However, the architect in the plan of Rossi made some changes that attached the gallery finished, solemnly strict and impressive appearance: the length I of the gallery was increased by almost 6 m, the choirs accomplished over the eaves - bypass gallery associated with the same galleries of neighboring rooms. This was done not only to enhance the decorative effect, but also in fire for fire purposes. Through the built-in glazed glazed binders, the gallery has now passed daylight, wooden rafters of the floors were replaced by iron.
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The widespread use of metal when restoring the palace was the innovation in the construction practice of that time. Many metal structures, complex elements of a new heating system, replaced furnace, water supply, metal parts of architectural jewelry were made for the palace at the St. Petersburg Aleksandrovsky factory. He headed his talented engineer M.E. Klark, using the newest achievements of modern technical thought, brilliantly solved a number of complex technical problems arising during the work. He developed and for the first time applied in the Winter Palace a system of insanid overlap using metal farms and beams to which ceilings made of copper sheets were suspended. This system made it possible to create overlaps in such large halls as the stamp and large throne hall.
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Big Throne Hall (Georgievsky) Large Timing Hall - The main hall of the Winter Palace - completes a large front enfilade. The throne hall existed here was created by the architect of the Kurengy in the reign of Catherine II and consecrated on November 26, 1795 on the day of St. George the Victorious - the patron saint of the Russian state and the army. From here there was a second name of the hall - Georgievsky. His decoration was completely died in fire fire. Stasov designed a hall again in a strict and magnificent classic style: a grand area (area of \u200b\u200bthe hall 800 sq. M), rows of snow-white columns, shine and severity of gilded bronze create a feeling of solemnity and splendor. Here, in the presence of the sovereign and the highest dowel dignitaries, the most important state acts were committed, the main official ceremonies took place. The main topic of registration of the parade residence of Russian emperors - the greatness and power of the empire, the Russian state - found their highest expression in the art decision of the Great Throne Hall.
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Malachite living room. The decoration and artistic decoration of the residential half of the palace after the fire of 1837 were charged by A.P. Brulylov, who created a complex of residential pollov, located on all three floors of the western part of the Winter Palace. With a special luxury and sophistication, he finished the room of Empress Alexandra Fedorovna - anfilad, facing windows on the Neva and Admiralty. An outstanding talented architect, erudite, an expertise of historical styles, in his projects he skillfully, with taste and tact used the techniques and traditions of the architecture of ancient classics, the European Middle Ages, the East. The finishing of the interiors in Half Alexandra Fedorovna was not preserved, but their appearance was conveyed to us watercolors. That was the disposal made by Nikolai I: he ordered to fix the interiors of the Winter Palace and Hermitage in the watercolors. Executed in the 1850s-1860s by artists K.A. Thawsky, E.P. Gaui L.Preatszi, watercolors are now invaluable documents that give an accurate and at the same time an artistic understanding of the imperial residence of the XIX century. The only hall, the finishing of which is fully preserved to the present day, is a malachite living room. In his truly fabulous luxury, the hall is obliged to the famous Ural Malachit - rare and unusually valuable green stone. In 1835, a large Malachite deposit was found on the Ural mines in the possessions of the Malachite mining supplies. More than two tons of Malachite was donated to the Demidov King on the decoration of the living room in the palace. The malachite living room served as a link between the front halls of the Palace and the rooms of the Empress. For the malachite living room, a number of personal chambers of Alexandra Fedorovna opened: the dining room, painted on the motifs, excavated in the pompes, in Italy, elegant living rooms, a bedroom, a cozy boudoir, a romantic winter garden with a murmur fountain and exotic plants, an exquisite and luxurious bathroom, decorated in Mauritan style, as if vehicle-resistant aromas of the East.
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Bedroom. The rooms of the emperor were located on the third floor. And only the working office of Nikolai I was at the bottom, on the first floor. Each evening, the inhabitants of the capital could see the light in the window of the Emperor's office and clone over the table of his figure. It also stood his campaign folding bed, on which he was destined to go in 1855. The room of the cabinet was the rooms of the daughters of Nikolai I - Olga and Alexandra. This small enfilade is simply, but elegantly decorated premises and after the marriage of the Grand Duke continued to remain a princely "Children's Half".
Clade 29.
The library of Nicholas II Special apartments of the Palace were intended for the heir - Cesarevich, the future of Emperor Alexander II. This anfilade chambers with windows on the Admiralty was created by the architect of the Kurengy during the times of Catherine Great specifically for Alexander I, then another Grand Prince. Following the instructions of Nicholas I, Bryullov did everything to recreate the decor of the quarters in the Grand Peace of Half. And in 1839, in connection with the upcoming marriage of the heir to the princess of Hesse-Darmstadt (the future empress Maria Alexandrovna), A.P. Brulylov was charged with the design of the new half of the heir. This Anfilad began from the stairs of her imperial majesty, the current October, coming from the Oktyabrsky entrance from the Palace Square. Bryullov retained the classically restrained and elegant decoration of the stairs created by Montferran to the fire. From the stairs followed a series of luxuriously decorated rooms: the main white hall (one of the best works of Bryullov in the winter palace), living rooms, bedroom, boudois. These were the personal rest of the spouse of the heir, closed with his own rooms. In the mid-1850s, a number of rooms of Mary Alexandrovna was anewly decorated with famous architects of the PORD: A.I.stutenschneider (1802-1865), who worked a lot in the imperial residence during these years, and Yu.A. Bosse. An outstanding master of the architecture of the historicism, a subtle stylist, Potakhenshneider created the most elegant premises for Mary Alexandrovna - a green dining room and a raspberry office. The whole life of Empress Mary Alexandrovna took place in these apartments. She loved music and painting. Raspberry Cabinet, whose tights have no coincidence. Images of different musical instruments, served as a place of home concerts. On the walls of the office hung pictures that were often acquired specifically for the empress, and subsequently became the valuable hermitage property.
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Following the instructions of Nicholas I, Bryullov did everything to recreate the decor of the quarters in the Grand Peace of Half after the fire in 1837. In connection with the upcoming marriage of the heir in 1839, with the princess of Hesse Darmstadt (the future empress Maria Alexandrovna), A.P. Brulylov was charged with the design of some of the halls of the heir. In Anfilad, which began on the stairs of her imperial Majesty, the current October, entered the raspberry office. This hall was issued by A.P. Brulylovy in 1841 and was used as a working office and dining room Maria Alexandrovna. In the mid-1850s, a number of rooms of the future of the future emperor Alexander II was anewly decorated with a famous architect of the pore - A.I.Staklyneder, who worked a lot in the imperial residence during these years. The outstanding master of the architecture of historicism, a subtle stylist, Potakhenshneider created the most elegant premises for Maria Alexandrovna. In 1858, Shockenshneder changed the project of the raspberry room. Storage facilities and converted ceiling; The upholstery was replaced, but her color remained the same - dark red. Considerable part of the life of Mary Alexandrovna took place in these apartments. She loved music and painting. Raspberry Cabinet, on the ramp of which were no coincidence that there were images of different musical instruments, served as a place of home concerts. On the walls of the cabinet hung pictures that were often acquired specifically for the empress.
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White room. The White Hall was created by A.P. Brulylovy to the wedding of the future emperor Alexander II in 1841. This interior-resistant interior is distinguished in white tones. In the central part of the hall, over the images of the armor, the bas-relief figures of the ancient Roman gods are placed; Columns with lush Corinthian capitals are crowned with figures that personify art. In the interior, the picturesque panels of the French landscape player 18 centuries look harmoniously. GBRAMER. The hall is the exposition of furniture D. Trentgen, the famous master of the classicism era. During the reign of Emperor Alexander II, the hall had its purpose: then festive techniques were held, not in the northern part of the palace, as under Nicolae I, and in the southern section, where the personal rooms of the emperor and the empress were located.
Slide 33.
October staircase. This main staircase It was restored after the fire of 1837 A.P. Brulylov, which preserved almost unchanged the project of O.The Monferran (and the beginning of the 1830s.). The architectural solution of the staircase, adjacent to personal apartments, is characterized by rigor and clarity characteristic of the style of classicism. The topic of glory is clearly visible in the decor: on the bas-relief, located on top of the windows, a triumphal march is depicted; In luhets, allegorical compositions of female figures tendered in front of the double-headed eagle; The niches are placed the statues of ancient deities. The interior is richly decorated with grizzly painting. In the center of the arch, the medallion depicting the chariot of Apollo is placed. The name "Oktyabrskaya" staircase got into memory of the revolutionary events of October 1917, when the troops of the storming penetrated her in the Winter Palace. According to the October stairs, at 3 o'clock on the night of October 25, 1917, the captured ministers of the Provisional Government was displayed.
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Winter Palace From 1917 to 1925, the revolutionary shocks of 1917 radically affected the fate of the Winter Palace. In July, he made his residence temporary government, which was located in the former rest of Nicholas II. Anticipating dorregal events in the country, the valuable palace property and the Hermitage collection are sent to Moscow to save to the Kremlin. After taking the Winter Palace by storming on the night of October 25-26, 1917, soldiers and sailors Three days were speculated in the royal apartments, thorough inner decoration. Only a few days later, on October 30, 1917, the Winter Palace named after the Russian Soviet Republic, the new government declared a state museum. In 1925-1926, according to the project of the architect of the State Hermitage, A.V.S. began the reconstruction of numerous office space for the purpose of using them for expanding Ermitage Expositions. The mezzanine floors distorted by Rastrelyev and other galleries, and corridors, a number of internal stairs, kitchens, service rooms, later partitions were destroyed. A large achievement of the restorers of the Winter Palace was to recreate in 1938 of one of the few preserved Rastrellian interiors - the Rastrelie gallery. On the third floor along the eastern facade of the palace, where sixty-four Freinties were previously located, after the reconstruction of the initial planning, seventeen light rooms were formed.
Slide 35.
Winter Palace in To war time. Simultaneously with the reconstruction, the current restoration of the coat of arms, Alexandrovsky and White halls, a large church, Gallery of 1812 produced. Unfortunately, when reworking and adapting former apartments of the Tsarist family, fireplaces and furnaces were dismantled to accommodate artistic collections. In the 1930s, the Ammosovskaya heating system was liquidated, and the Winter Palace was connected to the city heating network. In 1939, the Commission, which includes representatives of the monument security department, the chief architect of the Hermitage, other engineering and technical workers, amounted to the act of the technical condition of the Winter Palace and defined a list of repair and restoration work. On May 10, 1941, the Lengorispolk was considered the issue of repairing and coloring of buildings overlooking the palace square. But all the outlined works interrupted the war ...
Slide 36.
Alexandrovsky Hall In 1834, A.P. Brulylov was a draft memorable hall in honor of Alexander I, which was carried out only after the fire. The architect found a brilliant spatial solution to a huge twisting room. Original overlap of the Alexander Hall - fan vaults carrying the field of the dome, - became its main architectural and artistic accent. The abundance of air, the grandiosnosis of bribing spaces allowed to characterize the hall as fulfilled in the "Byzantine taste". The hall was perpetuated by the memory of Alexander I: a portrait of the emperor of J. Dow was placed on the end wall, over him - a bas-relief with a profile image of Alexander "in the form of the Slavic of Raddomysh", personifying wisdom and courage. Frisi was decorated with increased copies of F.P. Tolstoy models, talking about the events of the Patriotic War of 1812, and symbolic figures of Slav. The memorial character of the hall emphasized the four huge battle canvases G.P.vlevalde.
Slide 37.
Big church. The interior of a large church, created by the project FB Rastrelli, was one of the most magnificent in the Winter Palace. Restoring the church after the fire of 1837. V.Stasov sought to recreate her initial appearance. The space is divided into three volumes, two of which are the closest to the entrance and the altar part are doubled. The central part is crowned with a dome and accented by pylons with dual cannelized columns of the Corinthian order. The walls are decorated with pilasters of the same order, which alternate with the arched openings of windows covering the church on both sides. Highly profiled and liberated eaves separates the first tier from the top row of windows. The main role in the decoration of the church is played by a gilded molding ornament, made of papier-mâché, and painting: the plander "Ascension of Christ" works of P.V. Basin in the focus and images of four evangelists on sails, created by F.A. Bruny. The interior decoration was complemented by raspberry drapes and gilded lamps.
Slide 38.
Winter Palace During the war of 1941-1945. In the early days of the Great Patriotic War, many of the values \u200b\u200bof the Hermitage were urgently evacuated, some of them were covered in basements. To prevent fires in the buildings, the windows museum laid brick or closed shutters. In some rooms, the parquets were covered with a layer of sand. The Winter Palace was a large target. A large number of bombs and shells broke close to him, and several fell into the building itself. Thus, on December 29, 1941, the projectile crashed into the southern outbreak of the Winter Palace, entering the kitchen courtyard, damaged the iron rafters and the roof on the area of \u200b\u200bthree square meters, destroying the installation of fire water supply in the attic. An attic vaulted overlap of about six square meters was broken. Another projectile, caught in the stand in front of the Winter Palace, damaged a water pipeline.
Slide 39.
Winter Palace during the war years. Despite the difficult situation in the blockade city, the Lengorisprkitsky on May 4, 1942 ordered the construction trust No. 16 to produce priority restoration work in the Hermitage, which was attended by emergency and recovery workshops. In the summer of 1942, they blocked the roof in the places of damage to its projectiles, partially corrected the formwork, installed in broken light lights or iron sheets, replaced the destroyed metal rafters with temporary wooden, repaired the water supply system.
Slide 40.
Winter Palace during the war years. On May 12, 1943, an airbomb hit the building of the Winter Palace, partially destroyed the roof over the St. George Hall and metal rafting structures, and in the storeroom, the history of Russian culture was damaged by brickwork walls. In the summer of 1943, despite the shelling, they continued to seal the scenar sawn plywood roofing and overlaps, light lamps. On January 2, 1944, another shell fell into a stamp hall, having grieving the finish and destroying two overlaps. Shell struck and the ceiling of the Nikolaev Hall. But in August 1944, the Soviet government decided to restore all museum buildings. Restoration work required tremendous effort and stretched for many years. But, despite all the loss, the Winter Palace remains an outstanding monument of Baroque architecture.
Slide 41.
Winter Palace Currently. The Winter Palace, together with the buildings of small, large and new Hermitages and the Hermitage Theater, form a single palace complex, which has little equal in world architecture. In an artistic and urban planning relation, it belongs to the number of higher achievements of Russian architecture of the VIII-XI centuries. Now all the halls of this palace ensemble, which was erected over the course of many years, occupies the State Hermitage. This is the largest museum of the world with huge collections of works of art.
Slide 42.
Winter Palace Currently. Today's winter palace keeps the memory of different era: the works of Rastrelli are striking the fancy of architectural fantasies; The appearance of the parade premises reminds official ceremonies; decoration of residential chambers of the second halves XIX. The century demonstrates a huge range of selection of architectural types.
It is hardly the most visited landmark of the Northern Capital of Russia - the Winter Palace. The building was built in the middle of the XVIII century, the project it was developed by the Count Francesco Rastrelli. Palace built in accordance with the canons of Russian Baroque, the times of the Empress Elizabeth Petrovna. The style of the interior of the building is somewhat different - individual elements of Rococo (French) are used here.
Until the beginning of the XX century, the palace was an imperial residence. In the pre-revolutionary time in the building is located hospital. After the revolutionary events in the palace a member Temporary government. Later in the building are located museum expositions.
Prehistory
Before the baroque building was built, which is today the decoration of the Palace Square, there were other winter imperial residences. There were four such buildings (or even five, if you consider one-story house Peter I.).
The first two were built at the beginning of the XVIII century, in the Petrovsk Epoch. The third building was built for Anna Ioannovnawhich Petrovskaya Residence seemed too close. More precisely, it was not the construction of a new building, but a restructuring and a significant expansion of the old. In the rebuilt palace there were about a hundred bedrooms, about seven dozen halls, theater and many other premises. What is interesting, almost immediately after the end of construction, this building was decided to rebuild (expand), which was soon implemented.
For Elizabeth Petrovna The expansion of the building was continued. All new and new office premises were attached to him, which was not on the benefit of the architectural appearance of the palace. As a result, the structure looked as strange that it caused the displeasure of the empress and the negative reviews of her contemporaries. The building was again expanded (this time with such a calculation so that his appearance was pleased with the eye). But when the empress decided to increase the palace not only in length and width, but also height, the architect decided to simply build it again. This decision was approved by the Empress. In the meantime, construction work was going, the Empress was in a temporary palace (fourth). It was disassembled in the 60s of the XVIII century.
Construction of the palace and interior design
Construction of a building that today is one of the main architectural attractions of St. Petersburg, approximately seven years. In the middle of the XVIII century, the palace was the most high building In the city (speech here is about residential buildings). It was almost one and a half thousand rooms.
The customer of the building (Elizabeth Petrovna) until the end of construction did not live. They were completed during the reign Catherine II.. In the mid-60s of the XVIII century, it was transferred to several hundred paintings from abroad, most of whose authors belonged to the Dutch-Flemish school. It is these canvases that marked the beginning of the exposition that today can be seen in the palace. Until our time, less than hundreds of these pictures have been preserved. By the way, the name of the famous museum - hermitage Museum - It comes from the name of those palace chambers, in which paintings were originally placed.
In the 30s of the XIX century, the building happened strong firewho destroyed almost all his interiors. The flame was stuck almost three days, it was not possible to put it off. During the fire, thirteen people were killed (fire and soldiers). There is a version that in fact the dead was more, but official sources hid this fact. After a fire in the palace, serious restoration work was carried out. They lasted for about two years and demanded from architects and builders of tremendous effort.
In the 80s of the XIX century, the palace thundered explosion - It was an attempt to kill the emperor, implemented by a terrorist organization. Many soldiers standing in Karaul were injured, several people were killed. The emperor did not suffer.
The first years of the 20th century were marked by two significant events in the history of the palace - this is a grand costume ball And, two years later, Shot of a peaceful demonstration (Unarmed workers went through the square to the palace to transfer the emperor petition).
In the post-revolutionary period, the palace was announced state Museum. Soon the first exhibition opened in it. Until the early 40s of the 20th century, two were adjacent to the building state Museum - Hermitage and Museum of Revolution.
In the war years, palace cellars were converted to bomb shelterBut eventually used as residential premises: they constantly lived about two thousand people. There were collections of several museums in the halls of the palace: the exposition of the Hermitage itself (more precisely, its part was covered, since the rest was evacuated), as well as the values \u200b\u200bof a number of other urban museums. They were covered in the building and works of art from other palaces (located in the suburbs).
In wartime, the building suffered greatly from the bombs and artillery shelling. After the war, his recovery lasted for many years.
Architectural features and color
The palace is built in the form of a kara. It is formed by filties, facades and inland yard. All rooms and facades are distinguished by lush trim. Main facade facing square, decorates it arch. The rhythm of the palace columns is characterized by variability, rizalitis strongly come forward - these and other features of the building create the impression of the speakers, and also give the palace even more solemnity and majesty.
As mentioned above, in the middle of the XVIII century, the palace was the highest structure in the city (Among residential buildings). In the 40s of the XIX century, the imperial decree was released, prohibiting the construction of such houses, which would be superior to the height of the imperial residence. More precisely, the decree set the "border of height" for buildings - about twenty-three and a half meters (eleven samentes). That is the height of the palace. One of the consequences of this decree was: with any of the roofs of the old (central) part of the city today is visible almost all northern capital Russia.
Separately, you need to say a few words about the colorsistic range of the palace. During his long history, she changed several times. Today's appearance of the building, although it has already become familiar to citizens, does not correspond to the original design of the architect. Some modern art historians and architects speak out for the return of its initial colorful appearance.
Palace halls
Every Palace Hall is actually independent masterpiece (although the original interiors are almost preserved), he is worthy of attention in itself and at the same time enhances overall impression splendor. Tell some of these halls:
- Avanzal It was created at the end of the XVIII century. During balls, it was used as a parade bofofite: here the cavaliers and ladies drank champagne. Pay attention to the ceiling: This is a work of the Italian master; It refers to the small amount of decor elements that miraculously survived during a three-day fire.
-Nicolaevsky Hall (It is also called great) was also created at the end of the XVIII century. In the old days he was lit by lanterns made of blue glass. Blue rays fell on color marble, decorating columns and walls, and created an amazing, unforgettable effect. Hall area - more than a thousand square meters. If we talk about sizes, then this is the most impressive hall of the palace. In the pre-revolutionary time, banquets and balls were held here (in addition, the hospital was opened in the building). Currently, temporary exhibitions are held in the hall.
- Concert hall decorated with sculptures of ancient Greek goddesses and music. Here you can also see a magnificent collection of vintage Russian silver.
Another pearl of the palace - Malachite living room. More than one hundred twenty pounds of Malachite was spent on her finish. The room was finished with a green stone after a fire; Before that, it was called Yashmova, and her finish corresponded to the name.
Where did the tradition of divide the houses of the monarch of the monarch of the monarch for winter and summer? The roots of this phenomenon can be found in the days of the Moscow kingdom. It was then that the kings first began to leave the Kremlin walls for the summer and go to breathe air into Izmailovo or Kolomenskoye. This tradition Peter I moved to the new capital. The Winter Palace of the Emperor stood on the place where modern buildingand the summer palace can be found in Summer garden. It was built under the leadership of Trezini and is, in fact, a small two-storey house in 14 rooms.
From the house to the palace
The history of the creation of the Winter Palace is not a secret for anyone: Empress Elizabeth Petrovna, a big luxury luxury, in 1752 ordered the architect of Rastrelli to undertake for himself beautiful palace in Russia. But it was built not on an empty spot: before that, in the territory where the Hermitage Theater is now, there was a small Winter Palace of Peter I. The Wooden Palace of Anna John, which was built under the leadership of Trezini, stood on a shift. But the building was not luxurious enough, so the Empress who returned to St. Petersburg the status of the capital chose a new architect - Rastrelli. It was a raster-senior, father of the famous Francesco Bartholomeo. Almost 20 years new palace He became a residence of the imperial family. And then the same winter appeared, which we know today is the fourth in a row.
Source: wikipedia.org.
The highest building of St. Petersburg
When Elizabeth Petrovna wished to build a new palace, an architect for savings planned to use the previous building for the base. But the Empress demanded to increase the height of the palace from 14 to 22 two meters. Rastrelli reworked the project of the building several times, and I did not want to transfer the place of construction of Elizabeth, so the architect had to just demolish the old palace and there was a new one in his place. Only in 1754, the Empress approved the project.
Interestingly, a long time the Winter Palace remained the highest building in St. Petersburg. In 1762, a decree was even released, which forbidden to build in the capital of the building above the Imperial Residence. Due to this, the decree of the company "Zinger" at the beginning of the 20th century had to abandon his idea to build a skyscraper for himself on Nevsky Avenue, as in New York. As a result, a tower was built over six floors with an attic and decorated it with a globe that creates the impression of altitude.
Elizabethan Baroque
The palace is built in the style of the so-called Elizabethan baroque. It is a quadrangle with a large courtyard. The building is decorated with columns, platbands, and the roof balustrade is tens of luxurious vases and statues. But the building was repeated several times, the quarters, Monferran, Rossi worked on the inner decoration at the end of the XVIII century, and after the notorious fire of 1837 - Stasas and Brooklov, so that the elements of Baroque were not survived everywhere. Details of the lush style remained in the interior of the famous parade of Jordan staircase. She received his name from Jordanian travel, who was nearby. Through him, the Emperor family and the highest clergy went to the hole in the Neva. Such a ceremony was traditionally called "a move on Jordan." Baroque details are also preserved in the decoration of the big church. But the church was ruined, and now its appointment resembles only a big Font Basso Floof, depicting the resurrection of Christ.
Source: wikipedia.org.
In 1762, Ekaterina II climbed on the throne, which did not like the pompous style of Rastrelli. The architect was resigned, and new masters began to decorate the interiors. They destroyed the throne hall and erected a new Nevsky Enfilad. Under the leadership of Kvrenigi, Georgievsky, or a large throne hall. For him had to make a small extension to the eastern facade of the palace. At the end of the XIX century, the Red BooR, the Golden Living Room and the Library of Nicholas II appeared.
Heavy days revolution
In the first days of the revolution of 1917, a huge number of treasures of the Winter Palace kidnapped sailors and workers. Only a few days later the Soviet government guessed to take a building under protection. A year later, the palace was given under the Revolution Museum, so part of the interiors rebuilt. For example, the Romanov Gallery was destroyed, where the portraits of all emperors and members of their families were located, and in the Nikolaev room, and they began to show movies. In 1922, the part of the building was departed by the Hermitage, and only by the 1946th, the entire winter palace entered the Museum.
During the Great Patriotic War, the building of the palace suffered from airplanes and art robes. With the beginning of the war, most of the exhibits exhibited in the winter were sent for storage in the Ipatiev Mansion, the one where the family of Emperor Nicholas II was shot. About 2000 people lived in Hermitage bomb shelters. They struggled to keep the exhibits remaining in the walls of the palace. Sometimes they had to catch porcelain and chandeliers floating in flooded basements.
Fluffy guards
Not only the water threatened to spoil art objects, but also voracious rats. For the first time, the pretty army for the Winter Palace was sent from Kazan in 1745. Catherine II cats did not love, but she left striped defenders at the court in the status of "guards of art galleries". In the time of blockade, all cats in the city died, because of which the rats were broken and began to spoil the interiors of the palace. After the war, the Hermitage brought 5 thousand cats, which quickly dealt with the tailed pests.
The magnificent palace building in, surpassed all palaces and estates not only with their scale, but also the luxury of the finish. The construction of the Winter Palace began in 1754, and finished in 1762. The author of the project was the well-known architect that time V. F. Rastrelli. The famous architect created a not a simple residence for the kings, but the palace "for the United Glory of the Russian."
Currently, the palace is the main exposition of the museum "".
The palace has the appearance of a huge quadrilateral, with the courtyard of the same giant sizes. Despite the colossal dimensions, the palace does not look monotonous and boring. The architect came up with many techniques for the arrangement of columns, barking borders, the installation of statues and beautiful VAZ, thereby enhancing the impression of puffs and elegacity.
This building of the Winter Palace, the 5th in a row, was built for Elizabeth Petrovna, and before the revolution itself was the main residence of Russian emperors.
Amazing the imagination internal decoration of halls decorated with gilding, numerous mirrors, abundance of decorative details. From the inner halls, that Barochny Maneru was saved, in which Rastrelli worked, only the Jordan staircase and partly the court cathedral. In the royal, decorated Jordanian staircase distinguishes the extraordinary generosity and the puff of the decor. Here are also columns, statues, and fancy gilded stucco, and a huge cemetery created by the masters of Italy. The first floor was adapted for service and economic premises. On the 2nd floor there were quarters of the members of the Imperial Family. On the top floor there were rooms for court people.
In 1762, Rastrelli was dismissed due to the reasance of his creative style of Catherine II, which just climbed the throne. Architects A. Rinaldi, Y. Felten, J. Wallen-Demotam, making significant changes to the decor of the Winter Palace. In December 1837, the interiors created by the great masters of Rossi, Kvrengy, Montferran burned down in a strong fire. To the Great Joy, almost all valuable property of the palace managed to save from the fire.
During the revolution, the building of the palace occupied the temporary government. During the war, the Winter Palace caused serious damage. His restoration, stretched for decades, demanded incredible efforts.
You can walk to the Winter Palace from Art. Metro "Admiralteyskaya" or "Nevsky Prospekt".
Winter Palace in St. Petersburg Former Imperial Palace in the center of St. Petersburg ( Palace embankment, 38); From 1732 to March 2, 1917, the official winter residence of Russian emperors. From July to November 1917 he served as a place meeting of the Provisional Government.
The current building of the palace (fifth) was built in the years of the Italian architect B. F. Rastrelli. Monument of the architecture of the magnificent Elizabethan baroque.
Where the Winter Palace is now, at the beginning of the eighteenth century, construction was allowed only by the Fleet officials. Peter the Great, took advantage of this right, being ship affairs master under the name Peter Alekseeva, and in 1708 built for himself and his family a small house in Dutch style. Ten years later, by order of the future emperor, a channel, named (on the Palace) of the Winter Gallow, was breaking in front of the side facade of the palace. First Winter Palace
The second Winter Palace in 1711 is specifically for the wedding of Peter I and Catherine Architect Georg Mattarov, the king began to restructure the wooden palace in Stone. In the process of work, the architect of Mattarovi was removed from affairs and the construction was headed by Trestini. In 1720, Peter I moved from the summer residence in the winter. In 1723, the Senate was translated into the Winter Palace. And in 1725, the emperor died in the palace
The Third Winter Palace later Empress Anna Ioannovna considered the Winter Palace too small and in 1731 instructed his restructuring FB. Rastrelli, who offered her a project to reorganize the Winter Palace. According to his project, it was required to purchase, who stood at the time in the place occupied by the current palace, houses belonging to the Count Apraksin, the Maritime Academy, Raguzinsky and Chernyshev. Anna Joanovna project approved, houses were burned, construction was demolished and began. In 1735, the construction of the palace was completed, and Anna Joanovna moved to him. Here on July 2, 1739, the princess of Anna Leopoldovna, Anna Leopoldovna, held with Prince Anton-Ulrich
The Third Winter Palace, after the death of Anna, John, was brought here by the Minor Emperor John Antonovich, who stayed here until November 25, 1741, when Elizaveta Petrovna took power into his hands. Empress Elizabeth Petrovna also wished to remake the imperial residence under their taste. On January 1, 1752, she decided to expand the Winter Palace, after which the neighboring sites of Raguzinsky and Yaguzhinsky were redeemed. In the new place of Rastrelli attached new buildings. According to the project compiled by him, these corps were supposed to be attached to the already existing and be decorated with them in a single style. In December 1752, the Empress wished to increase the height of the Winter Palace from 14 to 22 meters. Rastrelli was forced to redo the project of the building, after which he decided to build it in a new place. But Elizaveta Petrovna refused to move the new Winter Palace. As a result, the architect decides to build the entire building anew, the new project was signed by Elizabeth Petrovna on June 16, 1754.
The fifth (existing) Winter Palace In 1762, the currently existing building of the palace appeared. At that time, the Winter Palace became the highest residential building in St. Petersburg. The building included about 1,500 rooms. Elizaveta Petrovna did not survive until the end of construction, took the work on April 6, 1762 already Peter III. By this time, the finish of the facades was completed, but many interior premises were not yet ready. In the summer of 1762, Peter III overthrew from the throne, the construction of the Winter Palace already under Catherine II was completed.
