The reign of Elizabeth I was marked by a new stage in the development of architecture in the state, the emergence of the Elizabethan (Russian) Baroque. Built under the leadership of the chief architect of the Empress R.F. Bartolomeo's architectural monuments had a clear European influence, however, they were characterized by Russian scope and monumentality. One of these masterpieces was Summer Palace Elizaveta Petrovna in St. Petersburg, which was compared with French in style, lightness of architectural forms and richness of decoration royal palace in Versailles.

Geographical location and architectural features of Elizabeth's Summer Palace

We can get an idea of ​​what Elizabeth’s Summer Palace looked like from paintings and engravings, as well as the memoirs of contemporaries. The imperial residence was located on the site between the street. Italian, Catherine Canal, Moika and Fontanka rivers. The palace was built in the 3rd Summer Garden, where the Mikhailovsky (also known as the Engineer) Castle is located today.

According to the design, the palace included two facades facing the Moika (main) and in the direction of Nevsky Prospekt. In front of the main entrance to the building, a regularly operating park with trees and figured flower beds, benches and fountains was laid out. Visitors entered the courtyard through wrought-iron gates.

Summer Palace of Elizabeth Petrovna Bartolomeo Francesco Rastrelli had a second name - the Wooden Palace. Only the basement and walls of the first floor were made of stone, the second was entirely made of wood. The pink and gray exterior walls looked elegant and light. The interior of the room was decorated with rich stucco with gilding, sculptures and a large number of mirrors The luxurious and elegant palace included more than 160 rooms, including a hall for receptions and galleries.

Favorite residence of Elizaveta Petrovna

The entire court of Elizabeth I moved to the Summer Palace from the Winter Palace as soon as it got warmer: in April - May. The move was celebrated solemnly, with a cannon salute and an orchestra, accompanied by a guards regiment. The return to the winter residence at the end of September was no less pompous.

Elizabeth loved her Summer Palace. Official receptions and balls were regularly held there. The future Emperor Paul I was born here.

Elizabeth's Summer Palace: history of construction

The idea of ​​​​building a summer imperial residence appeared under Anna Leopoldovna, regent under the young Ivan VI, to whom the throne passed after Anna Ioannovna. The architect began developing drawings at the end of 1740, and construction work began in July 1741. In the same year, a coup took place and Elizaveta Petrovna, the youngest daughter of Peter the Great, came to power. The new empress approved the continuation of construction of the palace and work was carried out from 1741 to 1744. Historically, construction was not carried out exactly according to the design. So, according to the instructions of Elizabeth through the river. Moika, a covered gallery was built for the transition from the palace to the 2nd Summer Garden.

After the death of Elizabeth I, the palace remained an imperial residence, events were held here holiday events at the end of the seven-year war with Prussia, and Catherine II received official congratulations on her coronation from foreign ambassadors, although she spent most of her time in Tsarskoye Selo. By decree of Paul I, the Summer Palace was destroyed in 1797 (officially due to dilapidation), and in its place the modern Mikhailovsky Castle, known to us, was built, which became the residence of the emperor.

In the 18th century, imperial favorites were very significant people in the state; they often influenced politics and participated in palace intrigues. The favorites were given expensive gifts, including palaces built by the best architects of St. Petersburg. "Kultura.RF" remembered the most interesting mansions of the imperial favorites.

Anichkov Palace

Photo: A.Savin

Mikhail Zemtsov began building the Anichkov Palace immediately after the coronation of Empress Elizabeth, and Bartolomeo Rastrelli completed the construction. The empress gave a luxurious mansion in the Baroque style to her favorite, Alexei Razumovsky. There were rumors among contemporaries (however, not confirmed by historians) that Razumovsky was Elizabeth’s secret husband and the father of her illegitimate son. The Anichkov Palace received its name years later, when the Anichkov Bridge was built nearby.

Later, the mansion was given away more than once. And Catherine II bought the building from Razumovsky’s relatives and presented it to her favorite, Grigory Potemkin. She also gave Potemkin 100 thousand rubles for the reconstruction of the palace, which was entrusted to Ivan Starov. The architect made the palace more strict and monotonous, as dictated by the classicism that was fashionable in those years. Later, the building was rebuilt many more times: by Giacomo Quarenghi by order of Alexander I, Carl Rossi - for Nicholas I. Alexander II and Alexander III lived here. Today the Anichkov Palace houses the Palace of Youth Creativity.

Shuvalov's mansion

Photo: Florstein

The mansion of another favorite of Elizabeth Petrovna, Ivan Shuvalov, is located not far from the Anichkov Palace. From both buildings it was possible to quickly reach the Summer Palace of the Empress. Shuvalov's mansion was designed in 1749 by Savva Chevakinsky. He built a three-story baroque building, about which Catherine II wrote: “On the outside, this house, although very huge, was reminiscent of cuffs made of Alençon lace with its decorations, there were so many different decorations on it.”. Subsequently, the building was owned by Prince Ivan Baryatinsky and Prosecutor General Alexander Vyazemsky, who ordered its reconstruction in the classical style. Later, the mansion belonged to various government departments, and today it houses the Hygiene Museum.

Marble Palace

Photo: A.Savin

Grigory Orlov was one of Catherine II's favorites; he became the father of her illegitimate son, Count Alexei Bobrinsky. The Empress gave Orlov many gifts, one of which was the palace. In 1768, Catherine II ordered the architect Antonio Rinaldi to build it near the imperial residence.

Later, the palace received the name Marble: when decorating it, the builders used 32 varieties of this stone - on the external facades and in the interiors. The walls of one of the most beautiful halls were lined with Italian, Greek, Karelian and Ural marble, as well as lapis lazuli. The Grand Staircase was made of silver marble and its decor was sculptures by Fedot Shubin.

Grigory Orlov died before construction was completed, and Catherine gave the palace to her grandson Konstantin Pavlovich. However, one of Catherine’s favorites still lived in this palace, after the death of the empress. In 1797–1798, the former Polish king Stanislaw August Poniatowski settled here.

Today at Marble Palace there is a branch of the Russian Museum.

Gatchina Palace

Photo: Litvyak Igor / photobank “Lori”

A large number of palace buildings, the wealth and luxury of their decoration have been transforming the architectural appearance of St. Petersburg for many years. After all, this city is famous for its unique palaces of major officials, aristocrats and other noble persons. The Summer Palace of Empress Elizabeth Petrovna is worthy of great attention. You will learn more about it by reading this article.

Cultural life of the capital during the reign of Elizabeth Petrovna

With the accession of the new empress to the throne, the next stage in the formation of cultural spheres began in the state. This period of prosperity also had an impact on the capital. The city has changed significantly. In the era of cultural development of St. Petersburg, preference was given to the construction architectural monuments. Deserves special attention Summer St. Petersburg to this day delights the eyes of city residents and tourists.

During the reign of Elizabeth Petrovna (1741 - 1761), the construction of palaces was of particular importance. Then Francesco, one of the best architects in the history of the state, was engaged in the construction of real masterpieces. His works also include the Summer Palace of Elizabeth Petrovna. It cannot but be noted as the best work of the architect.

General characteristics of the structure

The Summer Palace of Elizabeth Petrovna in St. Petersburg was built by B. F. Rastrelli between 1741 and 1744. According to the architect, the building included about 160 apartments, among which there was a church and galleries. The palace was decorated with numerous sculptures, fountains and a garden. Over time, the residence experienced a number of changes related to the architect's dissatisfaction with his work. Construction activities continued here for several years.

Summer Palace of Elizabeth Petrovna: history of construction

In the first half of the 18th century, the territory on which the Mikhailovsky Castle is located belonged to the Summer Garden - the royal estate of Peter I. Empress Anna Ioannovna ordered the construction of a palace to begin on this site. The construction was entrusted to the architect Rastrelli Jr. But the architect did not have time to start work during the life of the empress.

In 1740, power passed to who decided to implement the project founded by her predecessor. But after some time, a situation occurs as a result of which imperial power passes to the youngest daughter of Peter I, Elizabeth. The Tsesarevna gives F.B. Rastrelli the order to build the Summer Palace. The Empress liked the result of the architect's work so much that she doubled his salary.

The exact date of foundation of the building is still controversial. According to some historians, this event falls on July 24, 1741. Moreover, the beginning of the laying took place in the presence of Empress Anna, her husband, as well as some courtiers and members of the guard.

Features of the architectural style

The Summer Palace of Elizabeth Petrovna belongs to the Russian Baroque style. This was the name of a set of architectural trends that formed on the territory of the Russian Empire and the Russian state in the 12th - 13th centuries. The buildings of this period were characterized by:

• the splendor and intricacy of architectural forms;
• luxurious finishes;
• using modeling;
• the use of painting and gilding.

Among the styles of this era, there is one that arose thanks to the buildings of not only compatriots, but also architects from Western Europe. They were invited by Peter I to ennoble the new capital, St. Petersburg.

Most characteristic features Peter's Baroque were:

• rejection of the Byzantine manner;
• simplicity and practicality;
• facades in red and white shades;
• presence of symmetry of forms;
• mansard roofs;
• arched window openings.

What the Summer Palace looked like

Many of the engravings and drawings that have survived from that era depict almost exactly appearance palace Stone was chosen as the basis for the first floor, and wood for the second. The building was painted in light pink shades, which is remarkable for the Baroque style. The ground floor was made of granite in gray-green color. The Summer Palace of Empress Elizaveta Petrovna had two facades: the main facade overlooked the Moika, towards the Summer Garden, and the other faced the Nevsky Prospect.

Service buildings were located along the entire perimeter, which imitated a kind of isolation.

A wide road was laid along the Fontanka, which was accompanied by greenhouses and fruit trees. Part of this territory was occupied by the Elephant Yard, the inhabitants of which swam in the Fontanka if they wished.

The entrance to the palace was fenced with wide gates, on which gilded double-headed eagles shimmered. The gate was decorated with an openwork lattice. Behind the fence was a large front yard.

The view of the main façade was blocked by large flower beds and trees, which formed a kind of park.

The central building was occupied by the Bolshoi main hall. It was decorated with Bohemian mirrors, marble sculptures and paintings by famous artists. At the western side of the hall stood the royal throne. The living rooms, decorated with gilded carvings, led directly to the main hall. From the outside, shaped stairs approached the room.

In the direction of the Moika there were flower stalls. There were also three fountain pools with complex outlines.

Further transformations of the palace

Within a year, a covered gallery was completed, through which one could take a walk to the Summer Garden. Paintings by famous painters were hung on the walls of such a gallery. A terrace with a hanging garden was also designed here, located at the mezzanine level, where the Hermitage and fountain were located. The contour of the terrace was fenced with a gilded lattice. Later, a palace church was added to this site.

After some time, a decorative park was planted near the palace. A huge labyrinth, bosquets and gazebos passed through it. Swings and carousels were placed in the center of the park.

On the territory adjacent to the palace, a complex of water towers was built, since the previous water supply to the fountains did not have the necessary pressure. Similar water towers were ennobled with the help of palace painting.

The architect Rastrelli was not satisfied with his work. For this reason, a decade later, he brought the wooden Summer Palace of Elizabeth Petrovna to a real masterpiece. Rastrelli regularly remodeled some parts of the building. So, later the walls were transformed with the help of figured window frames and atlases. Lion masks and mascarons also served as their decoration.

Purpose

The summer residence is Elizabeth's first own home. Before the empress, no one lived in this building. The Tsesarevna occupied the eastern wing of the residence. The West Wing was reserved for courtiers.

Queen Elizabeth admired the luxury of the Summer Palace. Every year, in April, the Empress left the Winter Palace to temporarily live in the Summer Palace. The whole yard moved with her. This event turned into a real ceremony, accompanied by an orchestra and artillery fire. In September, Elizabeth moved back.

The further fate of the summer residence

In 1754, the Summer Palace of Elizabeth Petrovna in St. Petersburg became the birthplace of Paul I, who soon came to power.

In 1762, feasts were held here on the occasion of the peace agreement with Prussia.

As soon as the new Emperor Paul I came to power, he immediately ordered the demolition of the structure. In its place, a castle was erected, known today as Mikhailovsky. It was in this residence that the life of Paul I ended.

According to one legend, it was not by chance that the Mikhailovsky Castle was built on the site of the Summer Palace. The emperor wished to spend the rest of his life in the place where he was born. Another legend says that the Archangel Michael appeared to the guard and ordered the construction of a temple on the territory where the Summer Palace of Elizabeth Petrovna was located. After this incident, the emperor ordered the construction of a new palace and church in the name of Archangel Michael to begin. Thus, St. Michael's Castle got its name by analogy with the Temple of the Archangel Michael.

Summer Palace.

Summer Palace of Elizabeth Petrovna

Summer Palace of Elizabeth Petrovna. M. I. Mahaev (1756).

Coordinates: 59°56?26 s. w. 30°20?15 in. d. / 59.940694° s. w. 30.337639° E. d. / 59.940694; 30.337639 (G) (O) (I)

The Summer Palace of Elizabeth Petrovna is an unpreserved imperial residence in St. Petersburg, built by B. F. Rastrelli in 1741-1744 on the site where the Mikhailovsky (Engineers) Castle is now located. Demolished in 1796.

History of construction

In 1712 on south coast Moika, where the pavilion of the Mikhailovsky Garden is now, a small manor house was built for Ekaterina Alekseevna, topped with a turret with a gilded spire, which bore the pretentious name “Golden Mansions”. According to him, the Big Meadow (the future Field of Mars) on the opposite bank received the name Tsaritsyn Meadow: this is what will be used most often in the 18th and early 19th centuries. The area near the palace is called the 3rd Summer Garden. On July 11, 1721, the Duke of Holstein's chamberlain Berchholtz, having examined the estate, wrote down:

“The garden was recently planted and therefore there is nothing in it yet, except for the already quite large fruit trees. Five ponds located nearby were dug here to contain live fish brought to the royal table.”

In the queen's greenhouses, the gardener Ekliben grew fruits rare for northern latitudes: pineapples, bananas, etc.

Even then, the idea arose to close the alley of the Summer Garden opposite the Carpiev Pond with a palace building. This is evidenced by the project of 1716-1717, preserved in the archives. Its possible author is J.B. Leblon. It depicts a small nine-axle palace, the elevated center of which is topped with a tetrahedral dome. Wide one-story galleries cover the cour d'honneur with a lush figured parterre facing the Moika River. Behind there is a garden with numerous bosquets of various shapes. Fruit plantings have been preserved on the territory of the current Mikhailovsky Garden. However, things did not go further than plans.

Under Anna Ioannovna, the 3rd Summer Garden turns into a “jagd-garten” - a garden for “chasing and shooting deer, wild boars, hares, as well as a gallery for hunters and stone walls to prevent bullets and shot from flying in.” The “vegetable garden” was moved to Liteinaya Street, where the Mariinsky Hospital would later be built.

In the early 1740s. B.F. Rastrelli began the construction of one of the most remarkable buildings of the developed Russian Baroque - the Summer Palace in the 3rd Summer Garden for the ruler Anna Leopoldovna.

However, while construction was underway, a revolution occurred, and Elizaveta Petrovna became the owner of the building. By 1744, the palace, made of wood on stone cellars, was roughly completed. The architect, in describing the buildings he created, spoke about him like this:

“This building had more than 160 apartments, including a church, a hall and galleries. Everything was decorated with mirrors and rich sculpture, as was the new garden, decorated with beautiful fountains, with the Hermitage built on the ground floor level, surrounded by rich trellises, all the decorations of which were gilded."

Despite its location within the city limits, the building is designed according to an estate plan. The plan was created under the obvious influence of Versailles, which is especially noticeable from the side of the cour d'honneur: the successively narrowing spaces enhanced the effect of the baroque perspective of the courtyard, fenced off from the access road by a latticework of magnificent designs with state emblems. One-story service buildings along the perimeter of the cour d'honneur emphasize the traditional Baroque isolation of the ensemble. The rather flat decor of the light pink facades (mezzanine pilasters with Corinthian capitals and corresponding rusticated stone plinth blades, figured window frames) was offset by a rich play of volumes. Complex in plan, highly developed lateral wings included courtyards with small floral parterres. Lush entrance porticoes led to staircase volumes, as always with Rastrelli, offset from the central axis. From the main staircase, a series of living rooms decorated with gilded carvings led to the most representative hall of the palace - the Throne. Its two-light volume accentuated the center of the building. From the outside, curly stairs led to it, complemented by ramps on the garden side. The appearance of the palace was completed, giving it baroque splendor, by numerous statues and vases on the pediments and balustrade crowning the building. Rastrelli decorated the space up to the Moika with floral parterres with three fountain pools of complex outlines.

As often happened with the creations of an architect, over time the logical and harmonious original plan changes to suit momentary requirements. In 1744, for the Empress to go to the 2nd Summer Garden across the Moika, he built a one-story covered gallery, decorated with paintings hanging on the walls. Here, in 1747, near the northwestern risalit, he creates a terrace hanging garden on the mezzanine level with the Hermitage pavilion and a fountain in the center of the ground floor. Along its contour it is fenced with a lush gilded trellis lattice, and multi-march gatherings in the garden are organized. Later, a palace church was added to the northeastern risalit, expanding it with an additional row of rooms from the Fontanka side. Bay windows and lanterns appear on the western façade.

On the territory adjacent to the palace, a decorative park was laid out with a huge complex green labyrinth, bosquets, trellis pavilions and two trapezoidal ponds with semicircular projections (still preserved, they acquired free outlines during the reconstruction of the park for the grand ducal residence). Rastrelli reports about his work in the park in 1745:

“On the banks of the Moika in the new garden, I built a large building of baths with a round salon and a fountain with several jets, with ceremonial rooms for relaxation.”

In the center of the park there were swings, slides, and carousels. The structure of the latter is unusual: rotating benches were placed around a large tree, and a gazebo was hidden in the crown, into which one climbed up a spiral staircase.

Another building located in close proximity to the north-eastern corner of the palace is associated with the name of the architect: the water supply system for the fountains of the Summer Garden, completed in the 1720s. no longer gave enough pressure, and did not correspond to the splendor and grandeur of the imperial residence. In the mid-1740s. Rastrelli builds water towers with an aqueduct across the Fontanka. Technically complex, the purely utilitarian structure made of wood was decorated with palace luxury: the wall paintings imitated lush baroque modeling.

Despite the fact that the palace was the ceremonial imperial residence, there was no direct connection with the Nevsky Prospect: the road, which ran among unpresentable random buildings (on the banks of the Fontanka there were glaciers, greenhouses, workshops and the Elephant Yard) turned onto Italianskaya Street, and only bypassing the palace I I. Shuvalov, built by Savva Chevakinsky, crews through Malaya Sadovaya reached the central transport artery of the city. Direct communication will appear only in the next century thanks to the work of C. Rossi.

Elizaveta Petrovna loved the Summer Palace very much. At the end of April - beginning of May (weather permitting), the empress's ceremonial move from the winter residence was celebrated with a magnificent ceremony with the participation of the court, orchestra, and guard regiments accompanied by an artillery salute from the cannon and guns of the Winter Palace Peter and Paul Fortress and the Admiralty. At the same time, the imperial yachts, stationed in the roadstead opposite Apraksin’s house, sailed to the Summer Garden. The queen set off on her return journey at the end of September with the same ceremonies.

On September 20, 1754, the future Emperor Paul I was born within the walls of the palace. After the death of the queen, the palace was still used: the conclusion of peace with Prussia was celebrated here. In the throne room, Catherine II receives congratulations from foreign ambassadors on the occasion of her accession to the throne. However, over time, the owner begins to give preference to other summer residences, especially Tsarskoye Selo and the building is falling into disrepair. First, he is given residence to G. Orlov, then to G. Potemkin. A catastrophic flood in September 1777 destroyed the fountain system of the Summer Garden. The fashion for regular parks passed, and the water cannons were not restored; the unnecessary Rastrelli aqueduct was dismantled. There are two legends of the foundation of the Mikhailovsky Castle: according to one, Paul I said: “I want to die where I was born,” according to another, a soldier standing guard in the Summer Palace, when he dozed off, saw the Archangel Michael and ordered him to tell the Tsar to build a church on this place . Be that as it may, in February 1796, “due to dilapidation,” the Elizabethan dwelling was demolished and construction of a new imperial stronghold began. And today, only the three-dimensional construction of the castle’s façade facing the Summer Garden (possibly at the request of the monarch) and the magnificent drawings of M. I. Makhaev remind of the disappeared building.

With the coming to power of Emperor Peter I in Russia, a grandiose era of transformation began in the state, which became the impetus for changes in urban planning and architecture.

“Golden Mansions” by Catherine

In 1703, the emperor founded new town- St. Petersburg, and already 9 years later the construction of a small house for Empress Ekaterina Alekseevna, the monarch’s wife, begins. It was located on the southern bank of the Moika and was a small house with a turret that ended with a gilded spire. The structure was named “Golden Mansions”. Subsequently, this area received the name Tsaritsyn Meadow and became part of the Summer Garden - a large royal estate. On its territory, exotic fruits were grown for the empress: pineapples and bananas.

A few years after construction, it was decided to build a grandiose palace, which would be crowned with a tetrahedral dome, but the plan was not realized.

Failed construction

In 1730-1740 Empress Anna Ioannovna was in power, and several years before her death she instructed the architect Bartolomeo Rastrelli to build a palace on Tsaritsyn Meadow, and this should be done as soon as possible. However, the death of the empress did not allow the architect to begin executing her order. Her successor, Anna Leopoldovna, also wanted to build her own palace on this site; the construction was entrusted to the same Rastrelli. The architect prepared the necessary drawings in February 1741, but it was not possible to present them to the empress: in March a coup d'état was carried out, and Empress Elizabeth Petrovna came to power.

Bartolomeo Francesco Rastrelli

The Summer Palace of Elizabeth Petrovna was created by Bartolomeo Francesco Rastrelli, the greatest architect of the 18th century. He came from an Italian aristocratic family and held the title of count. His father was the sculptor Carlo Rastrelli, who worked for a long time at the court of the French Sun King Louis, and after the death of the latter was invited by the Russian Emperor to Russia.

Bartolomeo with early years was involved by his father in working on various projects, and went to Europe to study. Rastrelli's first documented work in Russia was the three-story palace of Dmitry Cantemir, built in the Peter the Great Baroque style.

In the 1730s, Rastrelli was engaged in the construction of the Rundāle Palace and the Palace in Mitau, which he built on the orders of the Duke of Courland. It was on the recommendation of Biron of Courland that Rastrelli became the court architect.

Architectural style of Rastrelli

Bartolomeo created a unique style in architecture. Thus, he began to use semi-circular window ends on the facades, and usually assembled half-columns in pairs and bundles. External columns usually did not play a constructive role, but were intended only for decoration. His palaces were characterized by huge state halls, covering the entire depth of the floor, and when decorating the interiors, he tried to avoid curved lines. All his buildings are characterized by flashy power, grandeur and solemnity, even pomp. Rastrelli abandoned the traditional strip foundations of that time, preferring platforms made of brick and stone based on piles, which, in turn, made it possible to partially redistribute loads, and this was very important for the soft soils of St. Petersburg.

Creations of the great architect

The great architect, in addition to the Rundāle and Mitavsky palaces, built the following structures that became landmarks:

1. Great Peterhof Palace.
2. St. Andrew's Church in Kyiv.
3. Smolny Cathedral in St. Petersburg.
4. Vorontsov Palace.
5. Hermitage Museum.
6. Winter Palace.
7. Royal Palace in Kyiv, etc.

Lost buildings of the architect

Some of his buildings this moment lost:

• Kantemirovsky Palace.
• Throne room on the Yauza.
• Winter Palace of Anna Ioannovna.
• Winter Kremlin Palace.
• Summer Palace of Elizabeth Petrovna.
• Traveling Srednerogatsky Palace.

History of the construction of the Summer Palace of Elizabeth Petrovna

The exact date of laying the foundation of the palace has not been preserved. According to one version, Anna Leopoldovna and her husband Prince Anton Ulrich were present during the laying of the foundation in July 1941; according to another, the laying took place a month earlier. However, the spouses were not destined to live in the new palace.

Rastrelli received an order to finish the palace he had begun from Tsarevna Elizaveta Petrovna, who became the empress. Construction was completed in 1743 - this was the first palace of the Empress, built personally for her, and the Empress liked it so much that she doubled the architect's salary - to 2,500 rubles a year.

The Empress used the summer residence from May to September every year; she devoted this time to her relaxation, almost not engaging in important state affairs. In 1754, it was here that Grand Duke Pavel, the son of Ekaterina Alekseevna, was born, and here Elizaveta Petrovna staged celebrations to mark the end of the seven-year war and the conclusion of peace with Prussia. Then the empress began to visit the palace less and less, spending more time in Tsarskoe Selo, and the palace gradually began to deteriorate.

Summer Palace of Elizabeth Petrovna: description

The architecture of the Summer Palace is such that it is simply impossible not to notice that the author of the project was impressed by the French Versailles. The building is characterized by the traditional Baroque closed ensemble of the front courtyard in front of the palace. There is no detailed description of Rastrelli’s brainchild, but some memories of the imperial estate were found.

Thus, the summer residence of Elizabeth Petrovna consisted of 160 apartments, there were both the queen’s personal chambers and numerous halls, galleries and even a church. In order to enter the palace territory, one had to pass through wide openwork gates made of bars, crowned with gilded eagles. According to the architect, “everything was decorated with mirrors and rich sculpture, as well as the new garden, decorated with beautiful fountains, with the Hermitage built at the level of the first floor, surrounded by rich trellises, all the decorations of which were gilded.”

The room had two facades. The main one was facing the Moika River; flower beds and neat trees were placed in front of it, turning this area into a park. The second façade faced Nevsky Prospekt, where, by order of Bartolomeo, a wide road was laid along which were located numerous greenhouses with flowers and trees.

The first floor of the Summer Palace of Empress Elizabeth Petrovna was made of stone, but the second was entirely wooden. The building is designed in pink tones, and the basement rooms are in gray. The ground floor was tiled with green granite. Inside the palace, all rooms were decorated with Bohemian mirrors, marble sculptures and paintings by famous artists. At the ground floor level, the Hermitage was built, where paintings of religious and biblical content were kept, some of which have survived to this day.

In the main building there was a Great State Hall, near western wall which the royal throne was located. In order to get to the Throne Room, it was necessary to pass a series of drawing rooms and a huge main staircase, decorated with gilded carvings. The throne room amazed with its grandeur, which was further emphasized by the clever arrangement of candelabra and chandeliers, which created the impression of a two-light volume. Several curly staircases also led to the Throne Room from the garden side, each of which was complemented by ramps. The imperial chambers were located in the eastern wing of the palace, and the courtiers lived in the western wing. Each of the palace premises was lavishly decorated with a variety of statues and vases. The façade of the building was crowned with numerous balustrades.

Palace Park

The entire territory of the palace complex was surrounded by a decorative park. The garden also contained magnificent fountains, and the park itself was a complex labyrinth of green spaces. On the territory of the complex, Rastrelli created three unusual fountain pools of complex outlines. There were small gazebos and benches throughout the park, and in the center there were carousels, swings and slides. Also, according to the architect’s idea, two artificial trapezoidal semicircular ponds were created, which, by the way, have survived to this day.

Subsequent changes

Francesco Rastrelli continued to work on the Empress's summer residence for many years. So, he decorated the walls with figured platbands, atlases and lion masks; 9 years after the completion of construction, he added a new gallery hall to the north-eastern side of the palace. The Empress was only pleased with such constant changes, while the owner the architectural integrity of the building was of little interest. The main thing is that new buildings should be as luxurious as possible.

In 1745, by order of the Empress, a covered gallery was built for the passage from the palace to the Summer Garden; its walls were lavishly decorated with artistic canvases. In 1747, the architect created a terrace with a fountain in the center, located on the same level as the Hermitage pavilion. It was fenced along the entire perimeter with gilded bars.

A little later, a church appears on the territory of the summer palace, which expands the palace complex from the Fontanka side, and bay windows appear on the western side of the façade.

On the territory of the palace, Rastrelli also built water towers with aqueducts, which were also lavishly decorated with paintings.

Catherine's period

The Summer Palace of Elizabeth Petrovna in St. Petersburg became the site of the triumph of Catherine II. It was here that she arranged an official reception for foreign diplomats after her accession to the throne, and here she learned about the death of Peter III. Without living in the residence, Catherine granted it first to Grigory Orlov, then to Grigory Potemkin.

In 1777 there was a flood, which greatly damaged the already dilapidated palace. No one began to restore the damaged water cannon, and the aqueduct was dismantled.

The summer palace of Elizabeth Petrovna was demolished in 1797 by order of Emperor Paul I. A few weeks after his accession to the throne, he gave the order to build a new impregnable castle-fortress on the site of an already dilapidated building, since living in Winter Palace the emperor did not want to at all. There is a legend according to which the Archangel Michael appeared to one of the guard soldiers and ordered that the Tsar be told about the need to build a church on the site of the palace, which became part of the Mikhailovsky Castle complex. This is exactly how Mikhailovsky Castle grew up on the site of Elizabeth’s summer residence in 1800. The decorations of Elizabeth's summer residence were neatly folded and taken to other royal estates.

How to get to the Summer Palace of Elizabeth Petrovna? Unfortunately, it has not survived. On the site of the Summer Palace of Elizaveta Petrovna (address: St. Petersburg, Sadovaya Street, 2) the Mikhailovsky, or Engineering Castle, is currently located. To get to the castle, you just need to use the metro and get off at the Nevsky Prospekt or Gostiny Dvor stations.