AMBER ROOM, a unique interior of the Great Catherine Palace, and 18th century arts and crafts monument. The walls of the Amber Room are decorated with the amber panels (the only example of amber used in Russian architecture). In 1716, Prussian King Friedrich Wilhelm I granted an amber study to Peter the Great staying in Habelberg (near Berlin), but the attempt to establish it straightaway failed. For the first time in St. Petersburg the Amber Room was arranged for the future Empress Elizaveta Petrovna in the Third Winter Palace. In 1745, Friedrich II who had ascended the Prussian throne presented Empress Elizaveta Petrovna the forth Amber Room, executed at his behest in Konigsberg (in addition to the three presented to Peter the Great). In the same years F. Rastrelli, reconstructing the Grand Catherine Palace at Tsarskoe Selo, included the Amber Room in the premises of the Gala Palace. To make assurance doubly sure, panels and frames treasured in the Summer Palace of Peter the Great in St. Petersburg were moved to Tsarskoe Selo under armed guard. To set the Amber Room the premises of 96 square metres turned out to be too spacious. Rastrelli offered a three-tier composition of the decor and placed the already existing panels and frames in the middle tier. Above and below it the walls were covered with canvas and painted by I.I. Belsky to look like amber. In 1758, Prussian amber master F. Roggenbuck headed the production of new amber articles in the workshops created on the spot. In the course of four years eight shields of the lower tier and eight panels were made (450 kg of amber was used). A Florentine mosaic was made in Italy in Petroduru workshops to the sketches of G. Zocchi. During the Great Patriotic War the decor of the Amber Room was taken by German authorities to Konigsberg, in 1944 it was lost. In the 1990s, in Germany two items of the Amber room resurfaced, those were given over to Tsarskoe Selo Museum. Work on the reconstruction of the Amber Room started in 1986 (under the direction of architect A. A. Kedrinsky). The reconstructed Amber Room was solemnly opened in March of 2003.

References: Овсянов А. П. Янтарная комната: Возрождение шедевра. Калининград, 2002; Янтарная комната: Три века истории / И. П. Саутов, А. А. Кедринский, Л. В. Бардовская, Н. С. Григорович. СПб., 2003.

O. A. Chekanova. Belsky Ivan Ivanovich
Elizaveta Petrovna, Empress
Friedrich II, King
Friedrich Wilhelm, Duke
Peter I, Emperor
Rastrelli Francesco de
Roggenbuck F.
Zocchi Guiseppe

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. 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

The oldest part of the park, founded as the Menagerie, occupied more than a half of the Alexander Park territory. The area for the Menagerie has been chosen as early as 1710, the date coincides with the first visit of Peter I and Catherine to “Saari Mois”. During 1718-1723 gardendesigners Ya. Roozen and I. Fokht laid out the area of the Menagerie. According to the landscape design the Menagerie can be named the second “wild grove” in the Tsarskoye Selo escape. The Menagerie area was three times greater than the regular garden of that time. A square plot of spruce forest with sides about 1 verst (3500 ft. ) was enclosed with a wooden palisade and ditch. The Menagerie was located on the central axis of the stone mansion but in the distance 400 sazhens (852 metres) from it. A vista road, with lime tree planted along it, led to it. In the middle of every Menagerie sides there were lattice cabinet-work gates with wickets. In the center there was an open lattice garden-house which was set on an artificial hill. Under the garden-house there was covered up with earth stone cellar where stores for hunting were saved. Clearings (so-called “Plezir”) led from the garden-house to the gates and corners. The Zverinochny Pond, where there were pikes, was dug on the Kioke River (or Kuzminka) which flowed there. A mill dam was constructed and a mill shed and granary were built on the dam. Deer, elks, Siberian deer, wild boars were placed in the Menagerie from the beginning, sometimes hares were added. Special workers were responsible for supervising animals as far as the palisade. They worked under the direction of the senior forester. In addition the senior forester supervised forests in all country-houses of Tsarskoye Selo. The Palace sloboda peasants were contracted to supply moss for feeding up animals, hay was brought from the palace stables. In autumn black grouse hunting, using stuffed birds from disguised with fir branches boxes on sledge, was the most attractive amusement. Catherine I, Peter II, Princess Elizabeth with courtiers liked hunting elks, deer, foxes, hares and stuffed birds in Tsarskoye Selo.
In 1750-1752 according to the design of Rastrelli the hunting lands were fenced with the stone fence of 4.5 arshine (about 3.2 metres) instead of the wooden palisade. In the middles of the fence sides there were passages, two fronts crossed the Kuzminka River. So called Menagerie (Zverinets) line of the Upper hothouses, been here from 1722, bordered with the south-eastern front from the outside. According to rules of military engineering the engineer Pyetr Ostrovsky built four bulwarks crowned with lusthauses in the corners of the stone fence. Diagonal clearings which were begun at the Monbijow ground to the lusthauses. The Tsarskoye Selo Menagerie was used for presentations . According to the court ceremonial hunting for the diplomatic corps and other guests of high rank were organized in the Tsarskoye Selo Menagerie. Empress Elisabeth received ambassadors of France and Austria in the pavilion Monbijow that was richly decorated with pictures of hunting plots.
. Keeping wild animals in captivity, hunting and high perimeter fence was unacceptable for ideas of landscape parks which became popular and it changed the attitude to menageries. New landscape parks were often begun to create on these areas. The Alexander Park is one of example of this. During the rule of Catherine II, who herself was a lover of hunting, the hunting grounds were located in Tsarskoye Selo environments in forests on the Slavyanka River banks and then in Gatchina Town. Gradually the Menagerie fell into neglect and only in 1799 Emperor Paul I ordered to introduce order in the forest, to repair the Monbijow, the Menagerie roads and clearings, but works were stopped in 1801.
In 1803 Alexander I ordered to give a part of the Menagerie area for experiments of The Forestry School organized in Sophia Town. In March 1814 a gardening school or a nursery for trees, that were needed for planting on the vast territory of the creating Alexander Park, was opened. In addition to old clearings landscape roads and paths were paved in the Menagerie during 1819-1823. The east bulwark, surrounded with a ditch, was preserved and included in the new landscape composition of the park. The Menagerie wall and three bulwarks were knocked down, their places were laid out, ditches were filled up. Bricks and stones, remained after dismantling, were used for constructing new buildings: the White Tower, the Chapelle, the Farm group, the Menagerie line of Green Houses, pavilions for llamas and elephants. These pavilions served as the peculiar marking of the borders of the Menagerie territory. Alexander I, Emperor
Catherine I, Empress
Catherine II, Empress
Elizaveta Petrovna, Empress
Foсht I.
Ostrovsky, Pyetr
Paul (Pavel) I, Emperor
Peter I, Emperor
Rastrelli Francesco de
Roozen Yan
Pushkin, town

The pavilion Arsenal (Monbijou) is located in the Alexander Park of the town of Pushkin. During 1747-1750 in the center of the Menagerie architects S.I. Chevakinsky and F.-B. Rastrelli built the hunting-lodge Monbijou (monbijou means my treasure), one of the best park pavilions in the Elizabethian baroque style. It was one of a pair for the Hermitage and had luxuriously decorated facades and interiors. The Arsenal was towered over eight-corner ground, located on the same axis as the Hermitage, and surrounded with a canal too. Diagonal clearings were cut from the Monbijow to corner bulwarks of the fence of Menagerie.
The Empress received Ambassadors of France and Austria in the pavilion Monbijow, that was richly decorated with pictures of hunting plot. The hunting pleasure-lodge Monbijow got dilapidated after a time. During 1817-1834 it was rebuilt by architects A. Menelaws and K. Thorn. The central two-storeyed volume of the Monbijow was done the base of the new composite design. It is considered that architectural motifs of the castle Shrubs-Hill, a Gothic style castle in England which was known according to etchings, were used for decorating facades. The building was transformed into a museum after rebuilding. Emperor Nicholas I ordered to place a magnificent collection of arms, armours, eastern saddle-clothes and he ordered to name the pavilion with the new name as Arsenal. Later the collections of the pavilion Arsenal were transferred to the Imperial Hermitage and other museums. Models of Russian mounted regiments uniforms were placed in the pavilion. Besides collections of glass and porcelain objects of the Imperial porcelain Works were exhibited there. The pavilion Arsenal (Monbijow) was partly destroyed during WWII and it has not been restored yet. Chevakinsky Savva Ivanovich
Menelas Adam Adamovich
Nicholas I, Emperor
Rastrelli Francesco de
Thorn, Aleksandr Andreyevich
Pushkin, town

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

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. 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

In the Tsarskoye Selo Palace of Tsarina Catherine Alexeyevna at first there was an camp private chapel of St. Catherine the Great Martyr. The main sight of this church was a carved iconostasis of dark blue colour. Building the palace church, being now, was begun in spring of 1746 to the design and under direction of S.I. Chevakinsky. The ceremonial laying of the Church of the Resurrection, performed by the Eminent Theodosius, Archbishop of Saint Petersburg and Schlusselburg, was been on 8 August of the same year in the presence of Empress Elisabeth, Heir Tsesarevich Pyetr Fiodorivich and his wife Catherine Alexeyevna. During bulding Elisabeth Petrovna ordered to remake a piece of done work and continue building under the direction of the chief-architect F.-B. Rastrelli.
Court painters G.-K. Grot, L. Karavak, B. Tarsia, I.Ya. Vishnyakov, A. Perezinotti were recruited to painting icons. In total in the church there were 114 icons, 59 of them were painted and 14 were corrected by famous icon-painter Fedot Kolokolnikov and Mina Kolokolnikov. The painting plafond with the image of the Ascension of Our Lord was painted by the painter G. Valeriani with assistants. Carving work was made by I.F. Dunker. The decoration of the interior was completed and Eminent Sylvester, Archbishop of Saint Petersburg and Schlusselburg, consecrated the Church of the Resurrection of Our Lord on 30 July in 1756 .
Religious services in the Palace Church of the Resurrection were performed by the court clergy during staying the Imperial court in Tsarskoye Selo. The Imperial retinue, ministers, diplomats, courtiers, officers of Life Guards regiments are present at the services. On Sundays and holidays the pupil of the Lyceum could be seen near Alexander I during liturgies.
The historian Karamzin with his family visited the church. Weddings of the Imperial family members and courtiers, christening of the Imperial family babies, who were born in Tsarskoye Selo, took place in the church. The future emperors Nicholas I and Nicholas II were among them. The church parish included the palace officials, lived in Tsarskoye Selo permanently. In 1917 public religious services were stopped and the church interior was included in the museum exposition.
The church interior had magnificent forms in the Baroque style. It was not subjected to considerable changes although the building experienced fires in 1820 and 1863. After the first fire the artist V.K. Shebuyev restored the lost in fire plafond, the church domes were restored to the design of the architect V.P. Stasov, their silhouettes were changed. The restoration of the original view of domes in the Baroque style were made by the architect A.F. Vidov after the second fire. During World War II the church inside decoration was plundered and got considerable damages, 97 icons were robbed, only some fragments were survived. After war restored repair of facades was made during 1957-1963 to the design of the architect A.A. Kedrinsky . But the church interior of the Palace Church has not been restored yet. Alexander I, Emperor
Catherine II, Empress
Chevakinsky Savva Ivanovich
Dunker Johann Franz
Elizaveta Petrovna, Empress
Grot, G.-K.
Karamzin Nikolay Mikhailovich
Kedrinsky Alexander Alexandrovich
Kvasov Andrey Vasilievich
Nicholas I, Emperor
Nicholas II, Emperor
Peter III, Emperor
Rastrelli Francesco de
Stasov Vasily Petrovich
Tarsia, B.
Valeriani Giuseppe
Vidov Alexander Fomich

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. Blank Ivan (Jogann)Yakovlevich
Cameron Charles
Catherine I, Empress
Chevakinsky Savva Ivanovich
Rastrelli Francesco de
Stasov Vasily Petrovich
Zemtsov Mikhail Grigorievich
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

The architect B.-F. Rastrelli became the Head of the building work at Tsarskoye Selo. Rastrelli Francesco de

10 May. The Decree of Elizabeth Petrovna about rebuilding the Tsarskoye Selo ensemble and the reconstruction of the palace by the architect F.-B. Rastrelli was published. Elizaveta Petrovna, Empress
Rastrelli Francesco de