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hidden Persons of Tsarskoye Selo -
hidden Monuments of history and culture | Zemtsov Mikhail Grigorievich hidden Catherine Palace (Town of Pushkin) | |
CATHERINE PALACE (Town of Pushkin), an architectural monument of the Baroque period, compositional centre and dominating architecture of the park and palace ensemble of Tsarskoe Selo ... | | CATHERINE PALACE (Town of Pushkin), an architectural monument of the Baroque period, compositional centre and dominating architecture of the park and palace ensemble of Tsarskoe Selo. In 1717-1723, on this site a small stone palace of Empress Catherine I (architect I.F. Braunstein) was constructed concurrently with the establishment of the Catherine Park. From 1743, work on the palace extension was started (architect M.G. Zemtsov), after his death work continued under the guidance of architects A.V. Kvasov and S.I. Chevakinsky. From late 1748 - architect F. Rastrelli. In May of 1752, Empress Elizaveta Petrovna ordered everything that had been erected earlier to be reconstructed and in 1756 the Catherine Palace was completed. At this stage it consisted only of the western parade court, framed by single-story semicircular buildings - surrounded with splendid wrought railings with gilded details and gates along the central axis of the palace. The facades are decorated with moulded figures of caryatids, cartouche, masks (sculptor I. F. Dunker), marked with ochre colour against the turquoise background (up to the 1770s, the stucco work was gilded). Originally the front staircase was in the south section of the Catherine Palace, on the second floor were also located the "Golden Enfilade", comprising of five "antechambers", double tiered Grand Hall and a number of sitting rooms, their fretwork above the doors created an impression of a gold stream. Among the interiors is the Amber Room. The length of the Catherine palace's facades is over 325 metres. The central part of the building (The Middle House) has retained the parameters of the palace of Catherine I. The side wings that replaced the original open terrace unite the central part with the wings: to the north there is a church (1779-84, architect I.V. Neelov) and to the south - Zubovsky (1778-1784, architect Y.M. Felten). Under Catherine II, in the 1780s, new interiors were added according to the designs of C. Cameron: the Arabesque and the Lyon sitting rooms, the Silver Study and others in the south part of the Catherine Palace, the rooms of the Grand Prince Pavel Petrovich (the Green dining-room, the Bedchamber and others) in the northern part. To the south-eastern side of the Catherine Palace the complex of the so-called Cameron Gallery, the Cold Bath (Agate Pavilion), the hanging garden and the ramp (1780-87; 1792-94) are united. In 1817-20, and in the 1840s architect V.P. Stasov made some changes in the palace's interiors, in 1860-63 architect I. A. Monighetti (Chinese front staircase in the central part). Since 1918, the Catherine Palace has been a palace-museum, in 1941-44, it was practically levelled, restoration following the project of architect A.A. Kedrinsky was launched in 1957. Restoration works continue up to the present. See also "Tsarskoe Selo" article. A. A. Alexeev.
Persons Braunstein Johann Friedrich Cameron Charles Catherine I, Empress Catherine II, Empress Chevakinsky Savva Ivanovich Dunker Johann Franz Elizaveta Petrovna, Empress Felten Yury (Georg Friedrich) Matveevich Kedrinsky Alexander Alexandrovich Kvasov Andrey Vasilievich Monighetti Ippolito Antonovich Neelov Ilya Vasilievich Paul (Pavel) I, Emperor Rastrelli Francesco de Stasov Vasily Petrovich Zemtsov Mikhail Grigorievich
| | | | hidden Catherine Park (Pushkin town), ensemble | |
CATHERINE PARK (Pushkin town), a monument of landscape architecture and the central part of Tsarskoe Selo palace ensemble. Its consists of a total of 107 hectares The park consists of a grassed and a landscape areas, divided by the Great Pond ... | | CATHERINE PARK (Pushkin town), a monument of landscape architecture and the central part of Tsarskoe Selo palace ensemble. Its consists of a total of 107 hectares The park consists of a grassed and a landscape areas, divided by the Great Pond, formed by damming the Vangazia Brook. The regular Old Park (1717-20s, garden masters Y. Roozen and I. Focht) was laid out on artificial terraces to the north of the pond. There are parterre lawns and flower gardens on the upper terrace near the Catherine park, two small ponds on the next one, and on the lower terrace there are bosquets between the three divergent alley ways, leading to Rybny Canal, behind which, in the so-called Wild Grove, the Hermitage pavilion is situated (1744-54, architect M.G. Zemtsov , F. Rastrelli). The Grotto (Morning Hall) is located on the bank of the pond (1749-61, architect Rastrelli). There are marble sculptures and busts of the early 18th century on the park's paths (masters A. Tarsia, P. Baratta, et al.). Pavilions of the Upper and the Lower Baths were constructed in classical style on the terraces of the garden by projects of architect I.V. Neelov (see the Neelov family) in the late 1770s, and the Hermitage kitchen in the Pseudo-Gothic style at the Wild Grove entrance. The practice of tree trimming was ceased under Empress Catherine II, and the garden lost its regular character. The landscape part of the Catherine Park (1762-96, garden masters J. Bush, T. Ilyin, architect V.I. Neelov) was laid out around the Great Pond, the geometric outlines of which were changed to fit the landscape style, and the following artificial islands were made: the Great Island (with a hall on it, 1794, architect G. Quarenghi), Wild Island, Stone Island, and Rabbit Island. Artificial Cascading Ponds were connected with the Great Pond. Admiralty complex (1773-77, architect V.I. Neelov) is situated on the east bank of the Great Pond. The Column of Morea (1771), Kagul Obelisk (1771-72) and Chesme Column (1774-76) were erected in honour of victories in the Russo-Turkish Wars of the second half of the 18th century in the landscape part of the park by projects of architect A. Rinaldi. In the south part of the Catherine Park the Tower Ruin with a rampart of packed earth (1771-73), the Gothic Gates (1777-80, architect Y.M. Velten), and Gatchina (Orlov) Gates (1777-78, architect Rinaldi). Nearby, located beyond the park boundary, the Crimea Column is situated (1777-85, sculptor G.I. Kozlov). Swan pools with weirs and cascades are located to the southwest of the Great Pond, behind Sibirsky (Palladiev) Bridge (1772-74, architect V. I. Neelov). The Pyramid with a cemetery for dogs of the royal court with Water Laborinth near it are in the same part of the park. In the western part of the Catherine park there is the Ramp Alley and the Granite Terrace (1809, architect L. Rusca), on which copies of Antique sculptures were installed in the 1850s (master A. Hamburger). A path leads down from the terrace to the Milk Maid fountain (1816, engineer A.A. Bethencourt; female statue - sculptor P.P. Sokolov). To the west of the Ramp Alley there are the Upper Ponds, with the Concert Hall on an island with the Kitchen Ruins (1782-88, architect Quarenghi) and the Evening Hall pavilion (1796, architect I.V. Neelov, 1810-11, architect Rusca). the Catherine Park is separated from the Chinese Village by Podkapriznaya Road. In the 19th century the Catherine Park was enriched with: gates "For My Dear Colleagues" (1817, architect V.P. Stasov), the Turkish Baths (the 1850s, architect I.A. Monighetti), the Personal Garden was laid out with marble pergola and a fountain (1865, architect A.F. Vidov). The Regular design of the Old Garden was restored in the 1960-70s (architect N.E. Tumanova). Reference: see Tsarskoe Selo entry. A. A. Alexeev.
Persons Baratta Pietro Bethencourt Avgustin Avgustinovich Bush Joseph (John) Catherine II, Empress Felten Yury (Georg Friedrich) Matveevich Foсht I. Hamburger I.A. Ilyin T. Kozlov Grigory Mikhailovich Monighetti Ippolito Antonovich Neelov Ilya Vasilievich Neelov Vasily Ivanovich Quarenghi Giacomo Rastrelli Francesco de Rinaldi Antonio Roozen Yan Rusca Luigi (Aloisy Ivanovich) Sokolov Pavel Petrovich Stasov Vasily Petrovich Tarsia Antonio Tumanova Natalia Evgenievna Vidov Alexander Fomich Zemtsov Mikhail Grigorievich
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KVASOV Andrey Vasilyevich (circa 1718, St. Petersburg - after 1777), architect, master of Baroque. Brother of Alexey V. Kvasov. He studied at the Construction Office under the guidance of architect M.G. Zemtsov ... | KVASOV Andrey Vasilyevich (circa 1718, St. Petersburg - after 1777), architect, master of Baroque. Brother of Alexey V. Kvasov. He studied at the Construction Office under the guidance of architect M.G. Zemtsov. He worked on the Catherine Palace and park pavilions (1744-48, reconstructed) in Tsarskoe Selo, A.P. Bestuzhev-Ryumin's Palace (1745; reconstructed, see the Senate and Synod Building), created the park ensemble of A.G. Razumovsky's Mansion at Gostilitsy near St. Petersburg (1740-50s; partly preserved). It is believed that he was the author of the Holy Assumption Church at Sennaya Square. He lived at 54 Morskaya Street (the house is reconstructed). From 1748, he lived and worked in Ukraine. V. G. Isachenko.
| | | | hidden The Hermitage pavilion (an ensemble of the Catherine Park) | |
The Hermitage pavilion, hidden in green foliage of the grove, with the Hermitage Canal, encircled it, was built in 1744-1746 to the design of the architect M.G. Zemtsov, it was not completed. The pavilion decoration was completed by F.-B ... | | The Hermitage pavilion, hidden in green foliage of the grove, with the Hermitage Canal, encircled it, was built in 1744-1746 to the design of the architect M.G. Zemtsov, it was not completed. The pavilion decoration was completed by F.-B. Rastrelli in 1749-1754. The sculpture decoration was made by I. Dunker, sculptors D.B. Djani and G.F. Partir. The rich wood engraving decorating doors, windows, mirror frames was made by wood-carvers P. Valyukhin, D. Sakulisny, I. Kanayev. The great hall plafond “The Feast on Olimp” and eight decorative compositions placed above the doors were painted by the artist D. Valeriani and his assistant A.I. Belsky, painting plafonds in side study-rooms and galleries were made by A. Perezinotti. Two wooden bridges across the Hermitage Canal were constructed by the sluice master I. Schmidt. Refined architecture of the Hermitage, opening suddenly for eyes, which dome was crowned with the sculpture group “The Abduction of Proserpina”, rich decorated with gilded scultures outside and with painting inside, was typical for pleasure constructions of Baroque style gardens. Wonders were prepared for visitors inside the pavilion where lifting tables with special serving mechanisms made it possible to laid the table without servants and to transform the dining room in the dance hall. Banquets for noble foreigners, balls for courtiers and children’s festivals for the Empress’s grand sons were held here. Interiors and historical lift mechanisms of the pavilion were survived and now they are accessible for visitors after the restoration completed in 2010 for the 300-years anniversary of Tsarskoye Selo.
Persons Belsky, Aleksey Ivanovich Dunker Johann Franz Kanayev, I. Partir, G.-F. Rastrelli Francesco de Sakulisny, D. Shmit, I. Valeriani Giuseppe Valyukhin, P. Zemtsov Mikhail Grigorievich
| | | | hidden Tsarskoe Selo, palace and park ensemble | |
TSARSKOE SELO (Pushkin town), a monument of town-planning and a palace and park ensemble dating from the 18th to the beginning of the 20th century. The core of the ensemble is the estate of Empress Catherine I Sarskaya Myza (founded in 1710) ... | | TSARSKOE SELO (Pushkin town), a monument of town-planning and a palace and park ensemble dating from the 18th to the beginning of the 20th century. The core of the ensemble is the estate of Empress Catherine I Sarskaya Myza (founded in 1710). To the north of the Catherine Palace, is the Church of the Holy Sign (1734-46, architects M.Y. Blank, M.G. Zemtsov). In 1752-53, the ensemble of "cavaliers' houses" (4, 6, 10, 12 Sadovaya Street; architect S.I. Chevakinsky) was developed along the north fence of the Catherine Park and Lower Stables (building 18, 20; 1756-62, architects F. Rastrelli, Chevakinsky), Hothouses (building 14; 1750s, architect Rastrelli; reconstructed in 1820-28 by architect V.P. Stasov) and the so-called "stables of the horses on duty" (building 8; 1822-24, architect Stasov) were adjoined to the ensemble. In the middle of the 18th century, the development of the territory continued along Litseisky Lane (building 5 - choristers' wing, 1752-53) and Srednaya Street (building 1 and 3 - houses of the Palace Administration, 1744) - all designed by Chevakinsky. The formation of the palace settlement was interrupted in 1783, when the place for the new town Sofia was chosen to the south-east of the Catherine Park; its plan (architect C. Cameron) was to become a model for all major provincial towns of the Russian Empire. But the project was not implemented to the full and in 1808 the town was abolished (the Holy Wisdom Cathedral and Kazanskoe Cemetery have preserved); later, the territory was built up with quarters and barracks where the Life Guard Hussar Regiment, Riflemen Regiment, Cuirassier Regiment and Artillery School were quartered. The planning of Tsarskoe Selo features regular lay-out formed by perpendicular streets. The centre is the rectangular Sobornaya Square (1808, architect V.I. Hastie) with facades of the Municipal Government and Fire Department (28, 32 Leontyevskaya Street; 1821, architects V.I. Hastie, V.P. Stasov) and Gostiny dvor (25 Moskovskaya Street; 1863-66, architect N.S. Nikitin). St. Catherine's Cathedral (1835-40, architect K.A. Ton) was demolished in 1939. Until the early 20th century, the development was confined to Bulvarnaya Street (today Oktyabrsky Boulevard). The considerable part of Tsarskoe Selo is occupied with the Catherine Park, Alexander Park, Babolovsky Park, Separate Park with Colonists' Pond (along Pavlovskoe Freeway, laid out in 1824-25, architect A.A. Menelas; 1839-47, masters F.F. Lyamin, I.F. Piper; partially replanned in the mid-19th century by architect A.F. Vidov and in the early 20 century by architect S.A. Danini), and Lyceum Garden (1819, architect A.A. Menelas, replanned in 1849, architect D.E. Efimov) with the monument to Alexander Pushkin (1900, sculptor R.P. Bach), the summer residence of M.V. Kochubey (Spare, or Vladimirsky Palace) at 22 Sadovaya Street (1817-18, architect Stasov); the summer residence of Z.I. Yusupova (10-12 Pavlovskoe Freeway; 1856-59, architect I.A. Monighetti), the summer residence of Grand Prince Boris Vladimirovich (11 Moskovskoe Freeway; 1896-97, Maple English firm; 1899, architect A.I. von Gogen). In the early 20th century, in the north of Tsarskoe Selo (Akademichesky Avenue) an ensemble was created that included Feodorovsky Settlement; the Imperial garages (1906-07, architect S.A. Danini, 1913-15, architect A.K. Minyaev); quarters of His Imperial Majesty Escort (1916, architect V.N. Maximov); Tsar's Pavilion of the railway station (1912, architect V.A. Pokrovsky). During the Great Patriotic War of 1941-45, the ensemble of Tsarskoe Selo suffered severe damage. In the course of post-war restoration work, main constituents and focuses of pre-revolutionary architecture have been preserved. References: Ласточкин С. Я., Рубежанский Ю. Ф. Царское Село - резиденция российских монархов: Архит. и воен.-ист. очерк. 2-е изд., доп. и перераб. СПб., 2000. Y. M. Piryutko.
Persons Blank Ivan (Jogann)Yakovlevich Cameron Charles Catherine I, Empress Chevakinsky Savva Ivanovich Rastrelli Francesco de Stasov Vasily Petrovich Zemtsov Mikhail Grigorievich
Addresses Akademichesky Avenue/Pushkin, town Leontievskaya Street/Pushkin, town, house 32 Leontievskaya Street/Pushkin, town, house 28 Litseisky Lane/Pushkin, town, house 5 Moskovskaya Street/Pushkin, town, house 25 Moskovskoe Freeway/Pushkin, town, house 11 Oktyabrsky Boulevard/Pushkin, town Pavlovskoe Freeway/Pushkin, town Pavlovskoe Freeway/Pushkin, town, house 10 Pavlovskoe Freeway/Pushkin, town, house 12 Pushkin, town Sadovaya Street/Pushkin, town, house 22 Sadovaya Street/Pushkin, town, house 6 Sadovaya Street/Pushkin, town, house 4 Sadovaya Street/Pushkin, town, house 18 Sadovaya Street/Pushkin, town, house 14 Sadovaya Street/Pushkin, town, house 12 Sadovaya Street/Pushkin, town, house 8 Sadovaya Street/Pushkin, town, house 20 Sadovaya Street/Pushkin, town, house 10 Srednaya Street/Pushkin, town, house 3 Srednaya Street/Pushkin, town, house 1
| | | | hidden V.I. Neelov, I.V. Neelov, P.V. Neelov, architects | |
NEELOV family, a family of architects, representatives of early Neoclassicism and Romanticism. Vasily Ivanovich (1722-82), apprentice of S.I. Chevakinsky and M.G. Zemtsov; from 1744, worked with them and F.B ... | | NEELOV family, a family of architects, representatives of early Neoclassicism and Romanticism. Vasily Ivanovich (1722-82), apprentice of S.I. Chevakinsky and M.G. Zemtsov; from 1744, worked with them and F.B. Rastrelli at the Building Bureau in Tsarskoe Selo. From 1760, architect with the rank of Second Major. Impressed by English park landscaping, during his visit in 1770, designed the landscape part with romantic pavilions of Ekaterininsky Park: the Pyramid Pavilion (1770-71), the Neo-Gothic Admiralty and the Hermitage Kitchen (1774-76), the Chinese Small and Grand Caprices (1770-74, in collaboration with I. Gerard), the Marble (Palladium or Siberian) Bridge in the spirit of Palladio (1772-74). His sons, Ilya Vasilievich (1745-93), graduated from the Academy of Fine Arts (1770), following his study trip to Italy, where he was elected a member of the Bologna Academy, worked with his father in Tsarskoe Selo, as C. Cameron's assistant (from 1780); designed the Upper Bath and the Lower Bath Pavilions (late 1770s) and the Grand Ducal Wing of the Great Palace (1788-92, later Lyceum) emulating early Neoclassicism, the pseudo-gothic Babolovsky Palace and other. Author of the landscape part of Alexandrovsky Park; Peter Vasilievich (1749-1846), apprenticed to his father and J.-B.Vallin de la Mothe. In 1770-75, studied landscape architecture in England. From 1794, worked in Tsarskoe Selo, completing the existing park ensemble. Designed the Evening Hall (1796, subsequently rebuilt by L. Rusca). Reference: Васильев Б. Л. Архитекторы Нееловы // Зодчие Санкт-Петербурга, XVIII век. СПб., 1997. С. 879-900. T. A. Slavina.
| | | | hidden Zemtsov M.G. (1688-1743), architect. | |
ZEMTSOV Mikhail Grigoryevich (1688-1743, St. Petersburg), architect, graphic artist, theorist of architecture, representative of the early Baroque. He studied at the Armoury Printing House School in Moscow. He worked in St ... | | ZEMTSOV Mikhail Grigoryevich (1688-1743, St. Petersburg), architect, graphic artist, theorist of architecture, representative of the early Baroque. He studied at the Armoury Printing House School in Moscow. He worked in St. Petersburg from 1709, first under the supervision of D. Trezzini. From the beginning of the 1720s, he participated in the implementation of planning and construction of a number of buildings in the Summer Garden (including The hall for Glorious Celebrations); the creation of the palace and park ensemble at Peterhof. In the 1730s he was involved in the construction of the Alexander Nevsky Monastery. Zemtsov's designs were used in planning Nevsky Prospect, Bolshaya Morskaya and Millionnaya streets. He was the author of the project of the Italian Palace on Fontanka River Embankment (1726-28, has not survived), the SS. Simon&Anna Church, Stroganov Palace on Nevsky Prospect (subsequently rebuilt), Anichkov Palace, the Holy Transfiguration Cathedral and the Cathedral of Prince St. Vladimir (completed after the death of Zemtsov). He was involved in completing the construction of Kunstkammer (the design of gala halls), the buildings of the Department of Stables, and the building of the Twelve Collegia (Peter's Hall of Senate Assemblies). Zemtsov was the author of the altar area of St. Sampson’s Cathedral. Since 1737, he was one of the directors of the Commission on Petersburg Urban Planning, and one of the authors of the General Plan of St. Petersburg for 1737 (see General Plans of Development of St. Petersburg - Leningrad); in collaboration with I.K. Korobov he worked on the first architectural and building code, The Significance of the Architectural Expedition started by P.I. Eropkin. He lived at 46 Nevsky Prospect. He is buried near St. Sampson’s Cathedral. (the tomb stone has not survived). References: Иогансен М. В. Михаил Земцов. Л., 1975. В. Г. Исаченко.
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CHURCH OF THE HOLY SIGN in Tsarskoe Selo (2a Sadovaya Street, Pushkin), an architectural monument in the Baroque style of the reign of Anna Ioannovna. It was built according to the plans of architect M. G. Zemtsov with the assistance of I. Y ... | | CHURCH OF THE HOLY SIGN in Tsarskoe Selo (2a Sadovaya Street, Pushkin), an architectural monument in the Baroque style of the reign of Anna Ioannovna. It was built according to the plans of architect M. G. Zemtsov with the assistance of I. Y. Blank, close to the Catherine Palace in 1734-36, on the site of the wooden Holy Annunciation Church, which had been burnt down. A single dome basilica with a belfry is adorned with pilasters along the facade. The Сhurch of the Holy Sign was completed in 1747. In 1772-73, a marble portico was constructed (architect V. I. Neelov); in 1865-66, the cupola and the belfry were remodeled (architect A. F. Vidov), and in 1898-99 the Imperial Wing was attached (architect S. A. Danini). The church relics included the Icon of the Holy Sign (today kept in the church of St. Petersburg School of Theology). In 1944, the church was closed down. It was restored in 1960-62 (architect M. M. Plotnikov), in 1991 the church was returned to the faithful. References: Мещанинов М. Ю. Храмы Царского Села, Павловска и их ближайших окрестностей. СПб., 2000. С. 32-40. V. V. Antonov
Persons Blank Ivan (Jogann)Yakovlevich Danini Silvio Amvrosievich Neelov Vasily Ivanovich Plotnikov Mikhail Mikhailovich Vidov Alexander Fomich Zemtsov Mikhail Grigorievich
Addresses Sadovaya Street/Pushkin, town, house 2, litera л. А
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May. The laying of the foundation stone of the Znamenskaya Church (the Church of the Holy Sign) it was built in 1747, according to the design by M.G. Zemtsov ... | | | | | | | | |
