In 1779 Empress Catherine II ordered to construct a factory for producing high quality paper, officially stamped paper and banknotes, on the dam of the 5-th Lower Pond, later these ponds were named Fabrichniye (Factory’s). The factory-mill was built in 1784-1785 according to the design and under the direction of F.V. Bauer, a St.Petersburg military hydraulic engineer. Masters and equipment for producing paper were brought from abroad. In the main stone building there was a water mill, used in the process of production paper, rooms for keeping it. The building was located right up to the dam in order to water from a sluice fall on the wheel of the mill placed in the cellar. A stone “cherpalnya” and wooden “sushilo” were located on a plot near. The territory was protected thoroughly, only specially appointed persons had the right to attend at working areas. The supervision of the mill was imposed on the councilor V. Nebolsin and a police officer. Houses for the factory manager, officials, workers and a team, protected the factory, as well as warehouses were located at the north-western side of the pond. In 1819 the Banknote factory was closed in connection with the founding of the Despatch Office of State Papers Provision, which used workers of the Tsarskoye Selo Banknote Factory. But the production of paper, converted for making wall-paper, still worked for a long time here. The Tsarskoye Selo Wall-paper Factory, founded on the base of the Imperial Wall-paper Factory, moved from Ropsha, occupied these building from 1819 until 1860. After closing the wall-paper production in the former factory building the Tsarskoye Selo Trade Woman Alms-house of Empress Maria Fiodorovna Establishments Board was placed.
A founded in 1872 orphan's home for keeping orphans and children of poor parents of all classes made its aim to prepare competent and trained to craft servants. In 1873-1878 the building was rebuilt and adjusted to a charity school according to the design of the architect A.F. Vidov. It was partially replanned and an additional three- flight stairs was constructed in the semicircular outbuilding from the yard side. In 1977 the former banknote factory was restored with displaying the original view of the façade, enclosed the perspective of the Catherine Park ponds, under the direction of the State Inspection for Monuments Protection architect B.A. Rosadeyev. Bauer Fedor Villimovich
Catherine II, Empress
Maria Fedorovna, Empress
Vidov Alexander Fomich

The big stone building of the Tsarskoye Selo orphanage of the Mariyinsky Board was built in 1905 to the design of the technician A.V. Druker . The orphanage was established in 1842, since that year it was placed in a private house and could be used only as a day orphanage. In 1905 an especial house was given to the orphanage and it was given the name of Nikolay, Yelizaveta and Olga Adamovich and the orphan department was given the name of Tsesarevich Alexey Nicholayevich. About 110 children of both genders visited the day orphanage for symbolic payment, 1.2 Rb per a year. 35 boys have full board and lodging without a payment and 5 boys have full board and lodging for 120 Rb per year. In 1917 the orphanage was closed, instead a children’s home was established and it was placed here until 1941. Druker Alexander Vasilievich
Oktyabrsky Boulevard/Pushkin, town
Oranzhereinaya Street/Pushkin, town

The Cameron Gallery, called in honour of its builder, with the graceful colonnade formed by Ionic fluted columns and a spectacular terrace with bow-shaped stairs led into the park, is a part of the architectural complex of Cameron’s Thermae. The constructing was started in 1783 and finished in 1787. According to Cameron’s design the building was decorated with three bronze statue by the sculptor F.G. Gordeyev and the casting master V.B. Mozhalov. The colossal statues of Hercules of Farnese and Flora of Farnese were put up on pylons of the stairs. In a grotto under the stairs there was the statue of sleeping Ariadna (or Cleopatra as it was considered earlier). The massive ground floor was used for living ladies in waiting, the gallery on the first floor was intended for Catherine II’s walkings and looking round landscape views. Imaging the gallery as an entrance hall leading from tsar’s apartment to the park (or from the park into the palace), the Empress ordered to decorate the colonnade with busts of the ancient world heroes, Roman emperors and some of contemporaries. During walkings Catherine II often showed her portrait gallery to guests. Cameron Charles
Catherine II, Empress
Mozhalov, V.B.
Sadovaya Street/Pushkin, town

The Chapel of the most Othodox Prince Igor of Chernigov and Kiev was built in the memory of perished citizens of Tsarskoye Selo – the Town of Pushkin during WWII. It is located on the place of the house, burned during the war, at the corner of Moskovskaya and Konyushennaya Streets, where mass executions of people were carried out during the Nazi occupation of the town. The building was held during 1997-1998 for the money of the Baltic Building Company and some other companies with the support of some establishments of Saint Petersburg. The design was developed by architects V.B. Bukhayev and Ye.L. Svetlov. The chapel was consecrated by Vladiko Vladimir, the Metropolitan of St. Petersburg and Ladoga on 2 July 1998 in concelebration of the Tsarskoye Selo deanery clergy. V. Yakovlev, the Governor of St. Petersburg and Yu. Nikiforov, the Head of the Administration of Pushkin Town, were present at the ceremony. Nikiforov, Yury Nikiforovich
Svetlova, Yelena leonidovna
Konyushennaya Street/Pushkin, town
Moskovskaya Street/Pushkin, town

The town of Pushkin, the Catherine Park, the Great Lake.

Architect: Antonio Rinaldi (1709-1794)
Sculptor: I. Schwartz
It was built in 1771-1778
Materials: Olonets pink and white marble for the column stern with rostrums; Olonets gray marble for the pedestal; red marble for the base; Serdobolsk granite for the foundation; bronze for the eagle, spoils of war, bas-reliefs; brass for letters.


Inscriptions were made with letters on the plaque from the southern side of the foundation:
“In the memory of sea victories achieved in the archipelago between Asia and Chio Island on 24 June 1770 when ten Russian Navy ships and seven frigates under the heading of General Count Aleksey Orlov and Admiral Frigory Sviridov defeated and put to flight the Turkish Captain-Pasha Zhefir-bey with sixteen battleships. There were more than a hundred frigates, galleys, brigantines and small ships of the Turkish fleet.
All this fleet was burnt in the port of Chesma by Rear-Admiral Greyg with a sent squadron of the victorious fleet from 2 to 4 November of 1770 at the presence of Russian troops under the leadership of General Count Aleksey Orlov landed on Mitilina Island in the Mediterranean Sea. During putting in flight the enemy and capturing a suburb, the admiralty and surroundings the residuary of the Turkish Navy , two seventy cannons battleships and storehouse for different supplies and tacking , were burnt.
The monument was devoted to the victories of the Russian Navy Fleet in the Russo-Turkish War of 1768-1774 at Khios, Mitilina and especially the famous military event as burning the Turkish Fleet in the Chesma Bay on 25-26 June 1770. Episodes of the Chesma battle were painted by the painter F. Gakkert in the series of pictures ordered by Catherine II for the Great Peterhof Palace. A road palace near Petersburg was named the Chesma Palace. The Chesma Obelisk was erected in Gatchina in the estate of Count G.G. Orlov, a brother of the hero of Chesma battle. In the palace the Chesma Gallery was placed.
The construction of the foundation for the column erected in the center of the Great Lake in Tsarskoye Selo was done under the direction of the architect A.F. Vist. The water in the pond was let out. The sculptor details of the monument was made of bronze according to the sculptor I. Schwartz’s model. The column was decorated with six marble rostrums , symbols of sea victories. The monument was crowned with the bronze figure of an eagle , the symbol of speed, power and courage. On the foundation there are cast bronze high relieves picture: the battle of Khios , on the eastern side, and the battle of Chesma , on the northern side, and the battle of Mitilena Island , on the west side. The Chesma Column was poetized by A.S. Pushkin:

Over strong mossy rock
The monument was raised.
A young eagle with extended wings is landing there.
And heavy chains, and crushing arrows
Were wound three times round the menacing column
Around the foundation noising gray waves settled in bright foam.
During World War II the high relieves of the foundation were lost. They were restored in the 1990s.
The high of the monument is 14 metres. Catherine II, Empress
Orlov Grigory Grigorievich, Count
Pushkin Alexander Sergeevich
Rinaldi Antonio
Wist Alexander Franzevich
Ekaterininsky Park/Pushkin, town Большой пруд

The regiment church was built to the design of the architect V.N. Kuritsin at the corner of Kadetsky Boulevard and Kirasirskaya (Cuirassier) Street in 1896-1899. The decoration was made by the architect S.A. Danini. The construction was carried out using the money of the commerce councilor I.K. Savinkov in the style of Old Russian churches in the memory of the wedding of Their Emperor Majesties Nicholas II and Alexandra Fiodorovna.
The consecration of the upper temple of St Julian of Tarsus took place on 19 December 1899. The temple was sanctified by the arch-presbyter of the military clergy Fr. A. Zhelobovsky jointly with the arch-presbyter Fr. John (Sergiev) of Kronstadt and representatives of the Tsarskoye Selo clergy and in the presence of Their Emperor Majesties. In the upper side-chapel there was an interesting stained-glass iconostasis made of multicoloured solder glass with mosaic icons surrounded by ornamental pattern. Icons was created in Munich on the base of cardboards of the professor N. Koshelev, who also painted two huge picture “The Wedding in Kanna of Galilee” and “The Miracle of St. Julian of Tarsus” on walls of the middle part of the temple. In the lower temple there was a stylish marble iconostasis and marble gravestones of Savinkov and his wife. Icons and fresco were painted by the artist Volkov. Alexandra Fedorovna, Empress
Danini Silvio Amvrosievich
Kuritsyn Vladimir Nikolaevich
Nicholas II, Emperor
Sergiyev (Kronshtadsky) Ioann Ilyich, the Saint
Kadetsky Boulevard/Pushkin, town, house 7

The grand opening of the commemorative plaque devoted to Erich Fedorovich Gollerbakh took place in September 2010 on the building of the former Tsarskoye Selo Real College named after Nicholas II (now it is the school No. 500, 24 Gospitalnaya Street). E.F. Gollerbakh (1895-1842), a writer, arts critic and cultural worker, attended the College during 1904-1911. Hollerbach Erich Fedorovich
Gospitalnaya Street/Pushkin, town

The grand opening of the commemorative plaque to I.F. Annensky took place on 12 December 2009 on the building of the former Nikolayevsky Gymnasium. I.F. Annensky was the principle of the gymnasium where there was his flat. The commemorative plague was created by the sculptor V.V. Zayko. The text placed on the plague informs “ The poet Innokenty Fedorovich Annensky lived and worked in the building of the Imperial Tsarskoye Selo Nikolayevsky Gymnasium from 1896 until 1905” Annensky Innokenty Fedorovich
Zayko Viktor Vladimirovich

The first in Tsarskoye Selo a park entertaining pavilion Lusthaus, in the form of a octagonal balk wooden gallery, was built by the architect I.K. Ferster in 1723 just here, on an artificial island of the Great Pond. On the place of the Lusthaus in 1746-1748 the architect S.I. Chevakinsky built the Hall on the Island, the new rectangular pavilion, with rich Baroque interior and outside decoration which was changed more than once. The architect F.-B. Rastrelli and sculptors D.-B. Djani and G.-F. Partir worked here. Then G. Quarenghi introduced elemets of the Classical style into the pavilion architecture. He worked jointly with painters- decorators F. Danilov and A. della Jakoma. The Hall on the Island was intended for holding concerts and receptions. From the time of Catherine II a wind band sometimes played in here, the Empress liked listening to the music being in the Grotto pavilion. People were delivered to the island by a ferry, there were two ferry piers, or by boats. On present days in summer concerts are held in the pavilion where public is delivered by the ferry. Catherine II, Empress
Chevakinsky Savva Ivanovich
Foerster, I.K.
Giacoma, A. della
Partir, G.-F.
Quarenghi Giacomo
Rastrelli Francesco de

Building the country house of the artist and the Academy of Arts Professor P.P. Chistyakov was connected with the special art “colony” in the Separated Park where famous artists - K.A. Gorbunov, M.N. Vasilyev, N.A. Lavrov, M.V. Kharlamov, N.YE. Sverchkov - lived and worked. Acoording to the order of Alexander II in 1874 the architect A.F. Vidov and the garden master V.I. Miller laid out a part of the park territory for building country houses with art studios. In 1876-1877 a house was built to the design of the architect A.X. Kolba on the plot of N.N. Lavrova and her sister L.N. Ogloblina, daughters of the artist N.A. Lavrov. P.P. Chistyakov took part in building the house and in 1881 he became the owner of this house. P.P. Chistyakov lived and worked here in summer and was often visited by friends and students. After 1914, when Chistyakov resigned the Academy of Arts, he lived and worked here permanently until his death in 1919. In 1987 the Memorial Museum of P.P. Chistyakov was opened here. Alexander II, Emperor
Chistyakov Pavel Petrovich
Gorbunov, kirill Antonovich
Kolb Alexander Christoforovich
Lavrov Nikolay Andreevich
Ogloblina, L.N.
Sverchkov, N.E.
Vasilyev, Mikhail Nikolayevich
Vidov Alexander Fomich
Moskovskoe Freeway/Pushkin, town, house 23

The wooden pavilion Elephants with small Indian style towers and service rooms and sheds, surrounded the yard, was built by the architeсt Menelaws in 1828. Appartments of the park wardens and elephant supervisor were placed in this pavilion. This year elephants belonged to Emperor Nicholas I, which were placed in the Volynkin Yard before, were transported to the Elephants pavilion. One more elephant, delivered by three Afghans, was brought here in some years. One more elephant , which had been being here since 1849, was presented to the Emperor by the Emir of Bukhara. Then were brought another elephants. At last the elephant, that was brought by the Heir and Tsesarevich Nicholas Alexandrovich from a round-the-world journey, was delivered into Tsarskoye Selo in July 1891. It was kind and good-natured to its guide, a Tatar, who willingly showed the elephant to visitors. In summer the elephant was walked in the park and every day it was bathed in the Great Llama Pond. Now only the second name the Krasnoye Selo Gate , the Elephant Gate, remembers about elephants and the pavilion. Menelas Adam Adamovich
Nicholas I, Emperor
Nicholas II, Emperor

Alexander I was the author of the original architectural idea and customer of Kochubey’s country-house. The work with the project was begun in 1816 from a draft developed by the emperor himself with the help of the architect P.V. Neyelov, the final design was completed by V.P. Stasov. A semicircular terrace with columns and spherical dome, oriented to the “To my dear comrades” Gate in the Catherine Park and developed the architectural motifs of the Alexander Palace and the Concert Hall pavilion designed by G. Quarenghi, was successfully planned by the monarch-architect. The gift certificate was drawn up in April 1817 in the name of Princess M.V. Kochubey. The building was constructed in 1817-1818, the garden planning and building works were completed by 1824. During 1835-1857 it was the Tsarskoye Selo country-house of Grand Duke Nicholas Nikolayevich, who was born in Tsarskoye Selo. By his full age the mansion was rebuilt in 1856-1857 to the design of the architect I.I. Charlemagne, but after the finishing of building the Grand Duke refused the country-house. The project of Charlemagne was high appreciated and the architect became an academician of architecture, but his architect career was interrupted in view of fault-finding of the owner. The spectacular terrace with two stairs and sculptures of the Italian marble lions at the eastern façade of the building remembers about Charlemagne’s work. In 1859 Alexaner II ordered to name the country-house as the Reserved Palace.
In 1895 The Reserved Palace was transferred to Grand Duke Vladimir Aleksandrovich. In 1876-1878 the architect A.F. Vidov built three cavalier’s houses for the Grand Duke retinue, wings for servants and later a garage and ice-house was built. In 1882 Alexander III considered necessary to register officially the transferring of the Reserved Palace to Vladimir Aleksandrovich under the ownership in right of primogeniture with especial conditions. Further attempts of the Grand Duke and his heirs to get the unlimited rights of ownership for the palace remained unsuccessful. After the Grand Duke’s dearth, the palace, which came into the ownership of the widow Grand Duchess Maria Pavlovna (Senior), was renamed the Vladimirsky Palace (in 1910), according to the Emperor’s order. In troubled 1917 during short-time the Vladimirsky Palace was used by the Soviet of Soldiers’ Deputies and Soviet authorities, a school- colony for juvenile delinquents, then here there was a School of VKP(b) (Communist Party of the Soviet Union (Bolsheviks)) for the Communist Party activists of agricultural establishments. During the Nazi occupation of Pushkin Town in 1941-1943 the palace burned and was highly damaged, so the question about its restoration for placing the dormitory of the School of the Communist Party Education did not solve for a long time. In 1948 Doctor of Architecture, professor V.I. Yakovlev and B.L. Vasilyev, an architect of the State Inspectorate for Monuments Protection, disputed this idea of the palace using and recommended to use the palace for a culture-educational establishment (a theatre, club). Restoration and recovery work was done according to the design of the architect-restorer M.I. Tolstov in 1955-1958 for using the palace as the Palace of Pioneers. At the present time the most luxurious Palace of Wedding is placed here. Cavaliers’ houses and wings are occupied by the Cadet Corps of the Federal Frontier Service. Alexander I, Emperor
Alexander II, Emperor
Alexander III, Emperor
Kochubey Viktor Sergeevich, Duke
Nikolay Nikolaevich (Sr.), Grand Prince
Quarenghi Giacomo
Stasov Vasily Petrovich
Tolstov M.I.
Vidov Alexander Fomich
Vladimir Alexandrovich, Grand Prince
Vladimir Alexandrovich, Grand Prince
Yakovlev, V.I.
Sadovaya Street/Pushkin, town, house 22

The Farm is located in the heart of the Alexander Park near the White Tower and the Military Chamber. The complex has been founded at this place from 1810 when the first wooden constructions were built according to the design of the garden designer Joseph Busch at the Menagerie stone wall. Under the direction of Busch the former farming lands of peasants of the village of Kuzminki s were transformed into the fine Farm meadow with beautiful groups of trees and ponds. At the distant from the town meadow edge an artificial mound, that was decorated with terraces and a spiral path going to the top planted along with birches, was erected. The visitors of the park were attracted with the countryside landscape with well-groomed purebred animals which were often offered bread.
The Farm stone constructions, having been now, were built by the architect Menelaws during 1817-1822 in the same English-Gothic forms as other park pavilions. These constructions were survived until the present days without major changes, only wooden construction of the fodder yard located at the western side. One- and two-story buildings connected with a fence with some gates form a picturesque ensemble. Metallic décor, yellowish limestone, red brickwork with white pointing and white plaster window casings and sandriks were used in the architectural design.
In the center between two entrance gates from the Farm road there was a two-story house of a supervisor , the façade of the house attracts the attention by two projection octahedral towers-buttresses wich are crowned with a fronton with a merlon. Different offices, apartments of a vet and farmyard workers were placed in one-story wings. In the vast yard there is a cruciform-plan building of a cow-shed with 84 stalls (now the cow-shed is used as a stable). In a corner there is a compound-plan wing intended for an ice-house and dairy with separators, refrigerators and other equipment. The wing is crowned with the fifteen-metre high round tower with the watch ground. Yakovkin in his guidebook wrote about the watch ground function , “It’s quite pleasant in bright morning to sit here and read or think or watch different views and especially to observe something using a telescope”. On the second floor there was a room for rest.
Near the tower inside the Farm fence there was a wing for imperial visitors, this wing stood out the richer decor of facades then other buildings of the complex. An cast-iron trellis terrace, used to entwine with ivy, joined with the wing outside. A beautiful Gothic Gate joined from the other side. In the wing there were two lounges, dining room, kitchen and there were four sofa rooms for rest in the mezzanine. The light maple furniture was decorated with the Gothic carving according to Menelaws’s drawings. Interiors were decorated with the Alexander time etchings with rural views of Switzerland and the Netherlands, portraits of Alexander I and his wife Yelizaveta Alekseyevna.
The imperial Farm was “a successor” of the former farm-yard that had been in Tsarskoye Selo since the first years of its foundation. Establishing the new economy Alexander I followed the advice of Empress Maria Fiodorovna, his august mother, who established the similar economy in the Pavlovsk Park earlier. According to the Emperor’s order the Tsarskoye Selo Farm workers were sent to the Empress’ farm for training. In 1822 sixty two cows and bulls of Kholmogorean and Cherkassean breeds just as European breeds – Tyrolese, Hungarian, Swiss, English and Holland ones- as well as a hundred merino sheep from Silesia were brought into the Tsarskoye Selo Farm. But only thoroughbred Kholmogorean cattle could settle down there. Afterwards breeds were chosen with the experimental way. The production was supplied for Emperor court, surpluses were sold. Farms worked under the especial supervision of the Tsarskoye Selo governor Ya.V. Zakharzhevsky. After 1865 Grand Duke Nicholas Nicholayevich became a trustee of the farms.
After the nationalization of emperor’s property the Farm and a large part of the Alexander Park with constructions, located there, were passed to the Agronomical Institute (later the Agricultural Institute, now it is the Agrarian University). The origin of the new toponim “The Farm Park” is connected with using the Farm complex as the Institute training economy. The well equipped winter stone cow-shed with cast-iron drinking bowl and other buildings used for the origin purpose during the long time. The stable of the Tsarskoye Selo Museum Preserve, where thoroughbred horses are placed now here. The horses are used for coaching in summer and sledging in winter. Alexander I, Emperor
Bush, Joseph
Elizaveta Alexeevna, Empress
Maria Fedorovna, Empress
Menelas Adam Adamovich
Nikolay Nikolaevich (Sr.), Grand Prince
Zakharzhevsky, Ya.V.

A historical complex of the Tsarskoye Selo Gostiny Dvor (25 Moskovskaya Street) is located between Oranzhereinaya Street and Leontyevskaya Street. The complex includes the main building built by the architect N.S. Nikitin in 1863-1866 and rebuilt by A.R. Bach in 1898; Meat Stalls was built by N.S. Nikitin in 1843-1844; an ice- storehouse was built by A.R. Bach. A distant arch gallery along the main façade is a distinguishing feature of the complex. A shopping center was placed here according to the town plan of V.I. Geste in 1808. The first wooden Gostiny Dvor was built on this place in 1825 by V.P. Stasov according to V.I. Geste’s plan. Later the butchery and grocery was transferred into the specially equipped stone Meat Stalls. Here there were storerooms with ice-boxes, meat, fish and green stalls. The Gostiny Dvor was belonged to the town. 85 different shops were leased to merchants on agreements with the Town Council and were the main source of income of the town treasury. Bach Alexander Romanovich
Hastie Vasily Ivanovich (William)
Nikitin, N.S.
Stasov Vasily Petrovich
Leontievskaya Street/Pushkin, town
Moskovskaya Street/Pushkin, town, house 25
Oranzhereinaya Street/Pushkin, town

The Grotto pavilion with the pier , highlighting on the dark green background of the Old Garden and with its mirror reflection in the Great Pond water, pertains to classical views of the Catherine Park.
Such garden pavilion, decorated with shells and tuff inside, as well as the Hermitage was the obligatory attribute of regular park ensembles of the 18th century. In 1749 the architect Rastrelli developed the design of the Grotto pavilion for Empress Yelizaveta Petrovna and himself led the construction works. 210 big seashells and and 17.5 poods (about 480 kilogrammes) small seashells were used for decorating the pavilion. The construction of the pavilion was too long and even in 1761, when constructing the Catherine Palace was finished, the Grotto was among incompleted park constructions.
The Grotto facades are excelled with gorgeous ornamentation and magnificence of the Rastrelli’s Baroque taste. The quaint dome was crowned with carved wooden fountain, its streams spilt along the pavilion sides. The architectural décor was made using typical Rastrelli’s methods: grouping in pairs rusticated columns of composite order, pilasters, broken pediments, the complicated sculpture decoration, figured infill of doorways with sash doors. Arched windows and doors surrounds, windows-lucarnes were designed with plenty of decorative motifs, stucco moulding and at the same time with the seamless combination of atchitectural and sculptural compositions. The connection of the pavilion with “Neptune’s water kingdom” shows the sculpture decorations: volute dolphins, Neptune masks, figures of newts, heads of nereids, sea plants and shells placed on column capitals, surrounds and over windows.
Spatial and planned design of interiors with a broken cornice, columns set to walls, is typical for the Baroque style with its chamfered corners, niches for statues, exedras on butt-ends of the building. Interiors were not decorated with sea shells and stones during Yelizaveta Petrovna rule . Available now plaster decorating of interiors was made by the architect A. Rinaldi in 1771 in the time of Catherine II.
Under Catherine II the Grotto pavilion was often named as the Hall of Antiques, because of the collection of antiques sculptures and vases placed here, or the Morning Hall. In fair sunny weather the Empress, who always got up early, liked working here in mornings. She liked to practice literature in sunrise time, watching a landscape view of the park and colors, changed in sun rays, and light and shadows reflected in water mirror-like surface. The Grotto pavilion view is the most impressed at this time because it is located on the eastern coast of the pond elongated to the south-western side. Young people sometimes were gathered for having coffee or chocolate in the Morning Hall on these days. Catherine II, Empress
Elizaveta Petrovna, Empress
Rastrelli Francesco de
Rinaldi Antonio