Михайловский дворец

Федеральное агентство по образованию 

Государственное образовательное учреждение

высшего профессионального образования

«Санкт-Петербургский  государственный

инженерно-экономический  университет» 

Кафедра экономики и менеджмента в  туризме и гостиничном хозяйстве 
 

РЕФЕРАТ

По дисциплине «Информационно-экскурсионная деятельность»

По  теме «Михайловский  Дворец» 
 
 

Выполнили:                        Группа:

Величинская К. А.              5/5072

Фрич. Ю. П.                        5/5072

Хованская М. А.                 5/5074 

студентки II курса 3г. 10 мес.  специальность 080502/8

                                (срок обучения) 

Преподаватель: Тен Е. С.

Оценка: _____________Дата: __________

Подпись:  
 
 
 
 

Санкт-Петербург

2009

    Maintenance:

    Introduction………………………………………………………………………3

    Mikhailovsky palace. History…………..………………………………………..4

    Architect Carlo Rossi…………………………………………………………….5

    The Mihajlovsky palace building………………………………………………..8

    Architectural style of Saint-Petersburg: Classicism («Ampire» Style)……….....9

    Architectural elements of the Mikhailovsky palace…………………………….18

    Historical persons………………………………………………………………23

    Historical events, connected with the Mikhailovsky palace……………………25

    Current state…………………………………………………………………….27

    The conclusion………………………………………………………………….28

      The list of the used literature…………………………………………………...29 
 
 
 
 
 
 
 
 
 
 
 

    Introduction

     Saint Petersburg is the Northern capital of Russia. Saint-Petersburg is one of the main cultural, historical and architectural centers of Russia. It was named in the honor of Peter the Great, who founded St. Petersburg in 1703. St. Petersburg, Russia is world known for its channels and bridges and is often called "Northern Venice". The city possesses a perfect architectural style and intense cultural life. There are more than 100 theaters and 200 museums in our city. The best architects worked for several centuries to create this irresistible visage of St. Petersburg which each guest enjoys now. Many outstanding monuments are situated here, most known are: St. Isaac's Cathedral, Kazan's Cathedral, Peter and Paul's Fortress, Admiralty, Hermitage, Smolniy Cathedral and Mikhailovsky palace. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

    Mikhailovsky palace. History.

    In the 1719 on then empty site of Mikhailovsky palace and a garden surrounding it, Peter I has established big fruit garden named « Third Summery ». It settled down from Fontanka up to the river Krivushi .To the south from the garden down to the Nevsky prospect the swamp and a small wood was kept. After the construction to the east of the Elizabeth Petrovny’ Holiday apartment, and then Mikhailovsky castle, numerous service constructions and sheds here were placed. Around them there was a waste ground, overgrown burdock and a nettle.

     The idea of construction of a residence for grand duke Michael Pavlovich belongs to its father, Emperor Paul I. In 1798 Paul has ordered to put away a few thousands rubles every year for the construction of the palace for his youngest son Michael. Emperor did not see an embodiment of his idea; he has died as a result of palace revolution. However, the will of sovereign was carried out. When Michael Pavlovich has turned 21 year old, Emperor Alexander I have decided to begin the construction of the palace.  
 
 
 
 
 
 
 
 

     Architect Carlo di Giovanni Rossi.

    In choosing the builder of the palace, Alexander I stopped at the architect Carlo Rossi. Carlo di Giovanni Rossi, (Russian: Carl Ivanovich Rossi) (18 December 1775 - 18 April 1849) was a Russian architect, of Italian origin, who worked the major portion of his life in Russia. He was the author of many classical buildings and architectural ensembles in Saint Petersburg and its environments.

Biography

     Carlo di Giovanni Rossi was born on the 18th of December 1775, and is of Italian origin. His mother, a world famous ballerina, brought Rossi to Russia from his birthplace, Venice, on an invitation to perform. Through his mother Carlo Rossi was born into a world surrounded by art. In his early years, he started his training in the studio of the architect Vincenzo Brenna and entered into the architectural admiralty as an assistant to Brenna. His first project with Brenna was the construction of the St Petersburg Saint Micheal’s Palace.

     Carlo di Giovanni Rossi traveled to Italy to further his studies during the years 1802 until 1803, and gained his architectural title in 1806. Rossi opened up his own office and was requested to return to Russia in 1808 to work on the Kremlin’s archaeological expedition. Here, in Moscow, Carlo Rossi built the St Catherine’s Church of Ascension Convent and a theatre at the Arbat Square. Unfortunately, the theatre was destroyed by fire in 1812 during the invasion of Russia by Napoleon. Carlo Rossi obtained the Order of St Vladimir of IV Degree and the rank of Collegiate Councilor followed in 1814. Returning to Saint Petersburg in 1816, Carlo Rossi was appointed a position on the committee that supervises and decides on structures and hydraulic works.

     Rossi’s buildings were simple, and yet had a look of grandeur and nobility rolled into one. This classic empire style can be seen in the Yelagin Palace that was built by Rossi during the years of 1816 to 1818 and the Senate and Synod buildings in the years 1829 to 1833. Other buildings that Carlo Rossi built are the Saint Micheal’s Palace, Alexander Theatre, the pavilions of the Anichkov Palace and the palace library in Pavlovsk.

     Carlo di Giovanni Rossi had spent most of his life in Russia, and the last building of his spectacular career was the Belfry of the Yurevski Monastary that is located near Velikiy Novgorod. Carlo Rossi died of Cholera on 18 April 1849 in St Petersburg and was laid to rest in the Volkov Lutheran Cemetery as one of Russia’s most celebrated architects. He was reburied in the Alexander Nevsky Monastery during the Soviet reign.

Works

• Mikhailovsky Palace and the ensemble of Mikhailovskaya Square
• The ensemble of Alexandrinskaya Square and Alexandrinsky Theater
• Theater’s Street (today this street bears the name of Rossi)
• The ensemble of Chernisheva Square
• Palace Square (building of the General Staff)
• Senate area (buildings of the Senate and Synod)
• Marsov’s field
• "Coffee House" pavilion in the Summer Garden
• Pavilion-pier in the Mikhailovsky garden
• Pavilions in the garden of Anichkov Palace
• St. Catherine Church of the Ascension Convent and Nikolskaya Tower in Kremlin
• Military Gallery of the Winter Palace
• Yelagin Palace
• The façade of the Russian National Library, which faces Alexandrinskaya Square.

The Mihailovsky palace building.

     Carlo Rossi becomes the architect of the construction of Mikhailovsky palace. He has started work on the project in 1817 when it was supposed to be a residence of Grand Duke replacing Vorontsov’s palace, and then in place of the Tchernyshev’s house. After the decision to build the palace on this waste ground, Rossi has started work on the project; it was not just a construction of existing buildings, but a new city architectural ensemble. Here the architect has planned not simply a palace, but the area before it (Mikhailovskaya, nowadays - the area of Arts, new streets (Engineering and Mikhailovskaya). In April, 1819 the Commission for construction of a palace to grand duke Michael Pavlovich has been created. The solemn bookmark of a building took place on July, 14th, and construction has begun on July, 26th. Mihalkovskiy palace Rossi has connected with the Nevskiy prospect the new Mikhajlovskaya street passing in Mikhailovskaya the area directly ahead of the palace. The street Mikhajlovskaya opens up a view on the main case of a building which two service cases on each side adjoin. In one of them kitchens, in other - an arena and stables were placed. From Marsov’s fields side there was a garden next to a palace called Mikhailovsky. Construction of a building by 1825 has been finished, by this time there were only some works outstanding in a garden.

    Consecration of a palace took place on August, 30th, 1825. That day the celebratory dinner took place. On the eve before the event Carlo Rossi has been awarded Vladimir's award of 3-rd degree. And next day, 1^st September, Emperor Alexander I has left St.-Petersburg, he has never returned back there. 

Architectural style of Saint-Petersburg: Classicism («Ampire»  Style).

  Mikhailovsky palace has been built in "ampire" Style or high classicism.  
In place of the Baroque to the 60-ies of the XVIII century, comes a new style - classicism. The development of classicism occurred in three stages: early classicism, classicism, and mature high classicism.

  Art Classicism system were characterized by monumental simplicity and clear harmony, rationalistic ordering. It was based on the heritage of antiquity and the Renaissance.

  The clarity of bulk composition, flattened facades, decorations restraint, strict rhythm to order items are defining the quality of early Classicism (1760-1770 gg.)

  Gostiny yard, Small Hermitage, the arch of New Holland (all Zh.B.Vallen-Delamot), the Academy of Fine Arts (architect AF corridors and JB Wallen-Delamot) , Marble Palace (architect A. Rinaldi) are Some of the best and prominent buildings early classical era.

  1780-1800 biennium. - The period of strict, a mature classicism. It is becoming the important role played by an appeal to the creative heritage of the great Italian Renaissance architect Palladio A.

   Reference strict Russian classics became Tauride Palace, built by architect I. Starov.

  Giacomo Quarenghi was the greatest master of the strict classicism in St. Petersburg. Its facilities are permeated a few cold monumentality, calm majesty. Example of his work is building the Hermitage Theater.

  At the Academy of Sciences concise volume, the exposed surface of walls contrasting opposed pronounced forward patrol portico with pediment. This method is used in the composition and the Smolny Institute, which became the main expressive means of the strict style.

  In the beginning XIX century classicism in Russia has entered its highest stage of development, called high-classicism or the Russian Empire. This last period of its heyday, lasted until about the mid. 1830's, opened architects A. Zakharov, A. Voronikhin and Jean-F.Toma de Tomon, the most successfully developing VP Stasov and Rossi completed the dignity and A. Montferrand.

   If the strict classicism (IE old, Quarenghi, Cameron) thought their facility, regardless of the nature of pre-existing buildings, the architects of the next generation brought to the fore the issue of planning and artistic context of his works with existing and newly built architectural structures. Zakharov Voronikhin and created the first ensemble building in the broad sense of urban - The Admiralty and the Kazan Cathedral, and Tom de Tomon was the first author of a classical ensemble of St. Petersburg: the building of the Stock Exchange and the Rostral Columns embankment Arrows Vasilyevsky island. Following them Stasov formed the building along the western border of the field of Mars, and Rossi has created magnificent ensembles of the central streets and squares. A substantial contribution to the transformation of the center of St. Petersburg, there introduced and Montferrand.

  Homeland Empire, like classicism in general is France. In Western European architecture of the style associated with the period of Napoleon Bonaparte, proclaimed in 1804 by Emperor. This leads to the origin of the word Empire (French empire), which means that the empire.

  The leading representatives of the Empire style in France were the architects of the courtiers of Napoleon - Charles Persia and Pierre Fontaine. In addition to creating a new front in the interior of numerous ex-royal and imperial palaces, now the Louvre, the Tuileries, Sen-Klu, etc., they took part in the erection of structures triumphant. In the palace of the Tuileries and the Louvre Museum, they have built Carousel triumphal arch on the square of the same name. However, the most significant construction works of this kind belongs to J.-F.Shalgrena, the project which in 1806 began construction of a famous triumphal arch of stars at the Elysee field to celebrate Napoleon's victories in 1805-06. Of the other works of the French Empire can refer J. J. Gonduena-B.Lepera, as well as church Madeleine B. Vin’ona, conceived by Napoleon as the temple of Fame, and began construction in 1806.

  During this period, as in the interiors of buildings, and in the external design of architectural structures are often repeated image of imperial eagles, borrowed from the Roman Empire, the Roman military armor and weapons, laurel wreaths, , as well as the Sphynx and the Egyptian obelisks. A passion for the latter to a large extent was connected with the Napoleonic campaigns in Egypt. French Empire as the empire of Napoleon was short-lived, bounded by one decade of history, ending its existence after the overwhelming defeat of the French army in 1812 at the snowy fields of Russia. These features of the Napoleonic style are typical for the Russian Empire, which began almost simultaneously with the French. His origins were a Rossi’s teacher - Brenna B. glorifying the period of Paul I. He was the first time in Russian architecture has become widely used and referred to the symbolism of art glorify the emperor.

  The flowering of Russian Empire, above all, linked with the names of three prominent architects of the first decade of the XIX century. - A. Zakharov, A. Voronikhin and J-F.Toma de Tomon. The latter in conjunction with Persia and Fontaine studied at the French Academy of Architecture in Paris, and together with them took part in competitions for the Grand Prix, which made the right in case of victory in the continuing education of the French Academy in Rome. It should also be noted that Zakharov, after successful completion of the Academy of Fine Arts in St. Petersburg to improve their skills in Paris in the studio Shalgrena. In Paris - the center of the architectural ideas of the time - studied and Voronikhin.

  Significant was another important fact: the Napoleonic period, the board has given rise to the most talented student of Persia and the Fontaine-architect Auguste Montferrand, began his professional career in the construction of the Church of Madeleine at Vin’ona. Not surprisingly, therefore, Montferrand has created a masterpiece of Russian Empire - Alexander's triumphal column. Also, there is reason to believe that Russia has completed his architectural education in the workshop of Persia and Fontaine.

  If the process of formation and development of the Empire style at an early stage and in France, and Russia took place at the same time, the period of the Russian Empire was much longer.

   It covers not only two and a half decades of rule of Emperor Alexander I, but the early years of the reign of Nicholas I. As a result, Russian Empire, as the most mature, has created the most famous monuments of late classicism not only in Europe but also in world architecture. Most of them are concentrated in St. Petersburg - the former capital of Russian Empire.

  The flowering of Russian Empire in the first place is linked with the name A. Zakharov. Its Admiralty (1806 - 19) was not only a symbol of Russia as a mighty maritime power, but also decorated ceremonial architecture center of the capital. It shows that the architect was a consummate master in the art to develop highly advanced space-spatial compositions using strictly selected and relatively simple architectural techniques. The latter was a consequence of lessons learned Zakharov French schools. On the basis of perception and to explore its innovative ideas, he simultaneously developed a tradition of Russian classicism of the XVIII century. his canonization order system.

   Along with the building of the Admiralty a significant role in the ensemble of the center of St. Petersburg plays Kazan Cathedral AN Voronikhin - the first in a broad sense, urban ensemble building capital, built in 1801-11. Unique classic appearance of the city is unthinkable without the other works of the architect - a building Mountain Cadet Corps (1806-09), renamed in 1866 in the Mountain Institute.  
 There are numerous Voronikhin’s studies in the suburbs of St. Petersburg. He served as projects to Peterhof, Pulkovo, Strelna, Gatchina and Pavlovsk. In early 1803 during the fire burnt the interiors of the central corps Paul (B.) the palace. His owner, Empress Maria Feodorovna requested restoration of the building Voronikhin appointed chief architect of Pavlovsk. The choice was not accidental: in 1802 he finishes in the Winter Palace at half Maria Feodorovna interiors, located on the second floor of the south central part of the hull. At the Pavlovsk’s Palace restoration Voronikhin amended to furnish of the main ceremonial rooms. In the central hall of the Italian architect's drawings were executed caryatid second tier, the figures of eagles on the upper cornice, processing dome ceilings caissons with molded sockets. In the Greek hall Voronikhin designed to overlap an ornamental painting, imitating the dome. In the halls of war and peace in his projects instead of pointed plafond caisson sets were constructed, and placed in the lunette reliefs. He was engaged and parquet floors in Pavlovsk, trying to simplify, as compared with those that had made the clay. In the study "Flashlight", designed by Voronikhin architect successfully used the old parquet disassembled one of the suburban palaces.

   A number of interior Voronikhin created in the Stroganov Palace (Art Gallery, Dining Room, Minerals cabinet Greek room, etc.). Their floors are varied severity and geometrical forms characteristic of classicism, but the set of elements of the figure, it becomes a Voronikhin more limited than, for example, with Cameron, Quarenghi and Brenna. Thus gradually there produced templates, characteristic of the Empire. It is no coincidence that the Greek Voronikhin’s floor rooms can be found in the decoration of the Cabinet of Alexander I in the Catherine Palace of Tsarskoe Selo, carried out later VP Stasov.

   By the outstanding achievements of high classicism of the building belongs to the Stock Exchange and Rostral Columns embankment Arrows Vasilyevsky Island. One of the ensemble, it is sufficient that its author Thomas de Tomon among the most talented representatives of Russian Empire. However, creativity by Tom De Tomon is not limited to the celebrated ensemble Arrows Vasilyevsky Island. He was also the author of other capital construction: new Big Theater mansion gr. AG LAVAL, a series of fountains at the former Imperial Village’s road, a memorial monument to "Wife-benefactor" in Pavlovsk, triumphal columns in Poltava, etc.

   Tom de Tomon Designed and interior decoration, including in the Winter Palace. However, the remaining single sheets of the project materials of this kind are not allowed to disclose the full creativity of the architect as a master of interior decoration. In particular, it is still unknown; no draft parquet floors Thom de Tomon, although they were carried out on his intentions.

   The next time a distinguished architect of Russian Empire was a VP Stasov. In 1817-19 for his project on the ground, where earlier tower of different and diverse structures have been built on a huge scale, the majestic building of the barracks of the Guards Pavlovsky Regiment in the Field of Mars, the top ranking in the ensemble of one of the central areas of the city. Clarity of composite construction, strict classical proportions, skilful placement of accents and the measured tread built as a parade of columns allowed include barracks Pavlovsky Regiment to the highest achievements of Russian Empire.

   Among other works Stasov Petersburg, play a significant role of urban planning, is the court stables, located on the shores of Washers, Izmailovsky warehouses, Savior Transfiguration and Holy Trinity Cathedral, as well as the ensemble of the Moscow triumphant gate with guardhouse.

   Considerable amount of work there comply Stasov to restore the interiors Winter Palace, which has been affected by fire in 1837. In the renewal of the imperial residence was attended by other talented architects, including A. Briullov but Stasov belonged to a leading role. Previously, the same kind of work Stasov produced in the imperial summer residences - Catherine Palace of Imperial Village, where in 1820 burnt a large portion of state space. When you create palatial interiors Stasov great importance attached to the parquet. To dial Stasov’s sexes has enlarged, but all the same geometric pattern as for parquets strict classicism. This was typical for parquets KI Rossi, created them in the imperial and grand palaces.

    In creations Rossi high classicism was the most consistent and eloquent expression. The highest achievements of an architect apply to 1820-30-m. During this period he created all of its famous ensembles: Elaginoovstrovski and the Mikhailovsky Palace, the Alexander Theater, the Chief of Staff, the Senate and the Synod. Outstanding famous town-planner at has become as master of interior decoration, which often is the influence of creative pioneers Empire of Persia and Fontaine. The most characteristic of the interior of Russia in the Russian Empire style was the 1812 War Gallery. Gallery of more than 50 meters was established in 1826. It was to celebrate the victory of Russian arms in the war with Napoleon. The main items of furniture galleries were more than three hundred portraits of the heroes of the war, including the most prominent military commanders MI Kutuzov and M.B.Barklaya de Tolly. All other elements of the decor of the gallery were also subject to the same goal the glorification of Russian weapons and Russian empires. Parquet this interior is typical of the Empire repeating geometric pattern, perfectly highlighting the extent and solemn, rhythmic beat of architectural space.

   A remarkable feature of the construction of Rossi was the architect of almost the very beginning of his extensive work was able to form a stable team of associates who performed on his project external and internal decoration of buildings. By constant staff were well-known architect Ochtinská parquet master SI Tarasov and his son Nikolai providing carpentry work, including art typesetting floors, Elagin and the Mikhailovsky Palace. The last original parquet Rossi partially preserved (White Hall, the former the first living room, the former Lavatory grand Duchess Elena Pavlovna, the former Corner Room), and represent excellent examples of parquets Empire era.

   By the same kind masterpieces include polychrome parquet Peter Hall Winter Palace, designed in 1833, and other finishing facilities, O. Monferrand. In contrast, from parquets Rossi, he has a totally unique and extremely complex picture when playing which has been used up to ten species of wood, including amaranth, rosewood, lemon, boxwood, mahogany, etc. This dial floor included in the overall ensemble space greatly enhanced the overall decorative effect. Peter Hall was one of the undoubted successes Montferrand and not by accident after a fire in 1837 has been restored with only minor derogation from the original project.

     Montferrand was the author of finishing and some other interiors of the Winter Palace, in particular, half of the Empress Maria Feodorovna (1827). Among the design issues relevant to this room survived parquets drawings, carefully made by the architect. While maintaining the overall geometry of what distinguishes them is more complicated pattern and the introduction of plant motifs. The latter to some extent suggests that creativity can be expanded and Montferrand in the next period of development of Russian architecture, called eclecticism, which was characteristic of an exclusive variety of ornamental, decorative techniques.

    As for the flooring Russian Empire in general, they are compared with the other components of the architectural and artistic decoration of the interior are least likely to be subjected to any significant stylistic change. The main direction of development of this art form during the high-classicism was primarily through the simplification of the figure and its information to a set of repeating geometric forms. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

   Architectural elements of the Mikhailovsky  palace.

     The Mikhailovsky palace with its lateral wings and a garden borrows extensive territory between the Sink and the area of Arts, Garden Street and Griboedov's channel. In ensemble of the constructions which are making out the area of Arts, the building of Russian museum plays a role of an architectural dominant. In a composition of a palace the farmstead scheme has found the application traditional for Russian classicism. Palace cost seven million rubles, of which four were spent at his luxurious design. From Nevsky there leads to the palace of a small street. In the past the building, she poured in a vast area, framed houses. Their tireless facades designed by Carlo Rossi. Festive and elegant facade of the palace is clearly visible from the Nevsky Prospect. The palace has been constructed as a country estate with a garden. Ensemble of the Mikhailovsky palace consists of the main case and two wings. The main two-storeyed palace case, which height makes about twenty five meters, is in depth of a smart court yard. The lateral wings symmetrizing, are connected among themselves by magnificent high pig-iron fencing with three gates. The central gates are decorated tetrahedral pylons which are topped by armature - the image of military equipment: an armour, swords and banners. Ground floor of the Mikhailovsky palace has been reveted dummy goints. The main facade of a building is decorated by porticoes from eight columns of the Corinthian warrant lifted on an arcade of a ground floor. The portico is completed by a triangular pediment. The heads of lions cut from a stone are located above arches and above all windows of a ground floor. Three-quarter columns decorate lateral columns of a building. The frieze of a palace is decorated also with forty four bas-reliefs of work of outstanding sculptor Demut-Malinovsky. The wide ladder decorated by stone lions, conducts to an input in a palace. These lions have been cast in 1824 especially for Mikhailovsky palace. They are a copy of the antique statues found in the beginning of XVI century at excavation in Rome. Then the figure of the lion, leaning by a paw on a sphere has been found. Long time this sculpture together with the cast same steam room decorated the Italian architectural ensembles. And at the end of XVIII century, their copies have been brought in the Academy of arts. Here from these those of spears lions for Mikhailovsky palace also have been made.

   Lateral projections are decorated by greater Venetian windows. Before the main facade of a building the small smart garden has been located. The opposite facade of a palace turned to the Mikhailovsky garden, also is richly trimmed. The central part of this facade is decorated with a grandiose loggia-colonnade. Sculptors S.S.Pimenov, V.I.Demut, painters Dj. And P.Skotty participated in furnish of internal premises of the Mikhailovsky palace.

     White open-work railings, under the general movement, on the second floor of course included in the decorative system, but to Rome. Lobby recalls the architecture of Roman yard overhead lighting and white columns on the perimeter. Decoration over the second floor is full, in comparison with the first. Rectangular frieze with winged griffin gives it special significance. Painting ceilings executed in color and sepia emulates the rich - in the form of heavy wreaths, leaf rosettes and curls - stucco done in strict rectangular frame.

      Apartment second floor, as in any palace this time, the parade had the appointment. It is here were held receptions and musical evenings, which in the XIX century, was famous Mikhailovsky Palace.

  Finishing, selecting materials, colors and furnishings of each interior were in sight architect. We know that Russia took into account every detail. He created sketches of murals not only the walls and ceilings, but also a form of door handles, sockets for pattern parquet floor, etc.

      Unfortunately, changing fashion and tastes of the owners. Throughout the XIX century, has altered the Mikhailovsky palace halls. Today minor details of its decor remind of the architectural ensemble of the integrity of the interiors, created by Carlo Rossi.

     Second-floor suite once opened the gate lounge (Room 18), painted ceiling which used admission, declared in the lobby: the painting in sepia color, imitating modeling. It is difficult to vary the motives garland, leaves and ancient heads. Then there followed the elegantly designed gallery, with white caryatids, flanking doorways. In combination with a triangular pediment over the door, they are making impressive decor accent in a small space. The sculpture was executed SS Pimenov, which cooperates Rossi. After a small space the visitor enters the great room - the front dining room (room 16).

     When you rebuild the palace of a museum in the late nineteenth century, the rich decoration of the interior entirely destroyed. To accommodate large format paintings, laid all the windows, when a very bright room. In the decoration of the room there used by yellow artificial marble. It fulfilled many pilasters, previously adorned the walls. In the late nineteenth century, at the top, the entire perimeter of the former dining room enhanced white reliefs - a copy of the disciples of St. Petersburg Academy of Arts. When you rebuild the palace "Dance Hall" (No. 15) lost its initial interior, the main element of decorative finishes were blue columns, faced with artificial stone.

      At the heart of the palace were three wonderful rooms. In a wall Karmazinov’s room have been draped by a red curtain. White (Hall 11) meets the title. And the decorations are orange lounge (Room 10) dominated by orange. Prior to the present day has preserved the original look of White Hall - one of the best creations Rossi. It is a masterpiece of interior art. Along the garden facade of the palace hall is stretched to 24 meters. In the strict and the beautiful rhythm of built space is a beautiful interior. Two pairs of columns are divided into three relatively autonomous compartments. The average of slightly more lateral and is in the box, the other two - rectangles. It stresses the pylons treated by pilasters.

      Coated with white artificial marble columns and pilasters crowned with Corinthian capitals. They have the smooth, a little gleam architrave and elegant, delicately traced with gilded details, cornice. Each part ends beautifully decorated hall mirror vault ceiling. The feeling of space enhanced lighting. High windows with semicircular top remind easy arches. Facing the garden, they went to the huge balcony - loggia with a number of white columns. This arbor is visible - a small garden pavilion, standing on the shore washing. In strict accordance with the general principle of architectural solutions halls - the symmetry and harmony - Russia is developing the details of its interior. In the face walls - two doors (one of them false). Between them - fire. Doors are made of wavy birch: "honey" color and texture of the tree watered. Opulent gilded carvings turned them into an effective element of the room decor. Above the doors are niches decorated with gilt figures of music in theatrical masks. The sculpture was adorned and fireplaces. At the end of XIX century, dismantled fireplace opposite the window. In its place, cut the door to the second floor lobby area. There were two fireplaces which were earlier coming to the end with high mirrors. Two mirrors, hanging between the wall frescoes in the near future, will be restored.

      The sculptural decoration of the room served as SS Pimenov. The special design of architect realized his contributor A. Vigi. On the white walls of the room presented a scene of a painter Homeric "Iliad" and "Odyssey." The two frescoes on the wall opposite the windows in the central compartment, died at the end of XIX century.

     For example, White Hall, you can see Rossi virtuosity of the individual elements of decoration into a coherent whole. Each subject talent architect has been the only place.

      Imaginatively and wittily Rossi placed between the columns double sofas. The subject at the same time lives in the central and lateral parts of the interior. Circular in cross-section legs, balusters made for a neighborhood with a strong column. Back chairs and stools processed threads from both sides. Being a permanent place around the table, in front of an audience, they always appear "in the rear." Furniture White Hall was has been gilt and covered with blue silk with gold large wreaths (not preserved).

     Furniture ceremonial palace interiors Rossi preferred gold or veneered valuable - Karelian birch, walnut. The living quarters of the ground floor mainly furnish items from mahogany, a good fit for cozy rooms and classrooms. This type of premises kept Palace in the picture, showing a cabinet of Mikhail Pavlovich in the suite of transfer first floor (room 23).

      The palace abounded with bronze once. It is chandeliers, candelabrums, clocks. In the second-floor rooms had fire bowls and floor lamps.

  At the Imperial Porcelain Factory for Mikhailovsky Palace ordered an enormous dining-dessert service. Its subjects have painted with the most thin miniatures and gilded ornaments. In 1825, the Journal of Fine Arts "and" Domestic Notes "emphasized: Mikhailovsky Palace" will adorn the St. Petersburg, but taste for elegance interior can be considered among the best of European palaces.  
 
 
 
 
 
 

    Historical persons.

     MIKHAIL PAVLOVICH (1798, St. Petersburg – 1849), Grand Prince, Adjutant General (1831), member of the State Council  (1825), Senator (1834), Honorary Member of the Imperial Military Academy (1832). The younger son of Emperor Pavel I, married (from 1823) to a princess of Wurttemberg, who adopted the name of Elena Pavlovna. By birth was granted the rank of Feldzeichhmeister General. Was brought up and educated together with his elder brother - Grand Prince Nikolay Pavlovich (future Nicholas I). In 1819 virtually assumed directorate of the Artillery Department, in 1820 founded the Artillery School in St. Petersburg. From 1825 served as Chief of the 1st Guards Infantry Division. Took part in suppressing of the uprising on 14 December 1825, participated in the activities of the Investigative Commission on the Decembrists’ Case. In December 1825 was promoted to Inspector General of Engineering Troops. As Chief of the Guards Corps participated in the Russo-Turkish War of 1828-19 and the suppression of the Polish Insurrection of 1830-31. From 1831 was in command of the Guards Corps and Page Corps and All Land Cadet Corps as well as the Nobility Regiment. In 1844 Mikhail Pavlovich was appointed Commander-in-Chief of the Guards and Grenadier Corps. Owned the Mikhailovsky Palace in St. Petersburg, in 1831 moved to Oranienbaum. Died in Warsaw, buried in St. Petersburg in the SS. Peter&Paul Cathedral.

ELENA PAVLOVNA (nee Frederica Charlotte Maria Princess of Wurttemberg) (1806-1873, St. Petersburg), Grand Princess, wife of Grand Prince Mikhail Pavlovich (from 1823). Owned a literary-political saloon, in which statesmen, diplomats, and art figures gathered from the 1840s through to the early 1870s. She patronized a group of liberal-minded officials (N.A. Milyutin, A.A. Abaza, Prince V.A. Cherkassky), who played an active role preparing and executing the Great Reforms of the 1860s-70s. In 1854, Elena Pavlovna founded the Krestovozdvizhenskaya Nurses Community in St. Petersburg, and during the Crimean War of 1853-56 she equipped a medical group headed by N.I. Pirogov at her own expense, and sent it to the front. She was the founder (1859) and President of the Russian Musical Society. The St. Petersburg Conservatory was opened with her support, its classes initially taking place at her palace. She founded the Midwife and Clinical Institutes (today the St. Petersburg Medical Academy of Post-Graduate Education, 41 Kirochnaya Street). She directed the Mariinsky and Pavlovsky Women's Institutes (all these institutions were a part of the Grand Princess Elena Pavlovna Office of Institutions). She owned the Mikhailovsky Palace, Kamenny Island, and Oranienbaum (see Lomonosov). She was buried at the SS. Peter&Paul Cathedral. 
 
 
 
 
 
 
 
 
 
 
 
 

      Historical events, connected with the Mikhailovsky palace.

    At grand duke Michael Pavlovich in a palace the stormy life was conducted, often passed high-society balls. In 1849 Michael has died, the palace passes to its widow, great princess Elena Pavlovna. At it events here pass less roughly, it invites to meetings of public figures, musicians, scientific, writers. The Russian musical Society, the Conservatory first in Russia Here arises.

    After Elena Pavlovna a palace has been inherited by a great princess Ekaterina Mikhajlovna, duchess of Mecklenburg-Strelitskaya. It in a consequence bequeathed to its children. At new owners since 1894 the palace became the profitable house; the building has started to collapse. That as that to pay back its maintenance, premises not only handed over in employment, in the western wing have organized office of Palace department. As the palace belonged to Romanov's house, and successors were the German citizens, Alexander III has considered that it will be necessary to redeem it to a treasury. He could not carry out the process; the palace has been redeemed in to treasury by Nikolay II later on.

     On January, 20th, 1895 Mikhailovsky palace has been redeemed. On April, 13th, 1895 the nominal decree emperor Nikolay II has founded « Russian Museum of Emperor Alexander III » and has transferred for it all to a palace complex. The decision on creation of Russian Museum was accepted by the government in connection with that the Hermitage by then has already been filled by products of foreign masters, and for domestic art one hall was allocated only. For products of Russian masters it has been decided to organize a separate institution. The original collection consisted of 80 canvases from the Hermitage collection, 120 - from the Academy of Fine Arts and 200 - from various royal palaces. So many pieces of art were donated to the. After the revolution of 1917 collection of the Russian Museum grew quickly due to "nationalization" (requisition) of art from numerous private collections. By all means managing director of the museum should be a member of the Imperial House. Duke George Mikhajlovich has become the first managing director. Opening of a museum took place in March, 1898.

    To accommodate all needs of a museum building of Mikhailovsky palace has been reconstructed under the project of Century V. Svinien. He has knocked down the right case (stables and the arena), and on their place he has constructed the case of the Museum of ethnography. Interiors of a palace have been completely reconstructed. From Carlo Rossi's interiors only smart ladder and Average Hall, renamed in the White hall have remained.

   Due to the significant increase in collections in the years 1910-1914 Leontiy Nikolaevich Benois was designed a new building, its side elevation overlooking the canal Griboedova (then Catherine). Bookmark this building on June 27, 1914, but construction was delayed outbreak of the First World War. After it is finished, when the Soviet government, building was built. He received the name of its founder - «corpus Benoit».

In November 1941, in the corpus Benoit hit two high-explosive bombs. Restoration of the building took place in 1947-1963 years. During the Siege of Leningrad has done a great job to save the values of the museum. At that time in the yard of Michael's palace stood the monument to Alexander III. His were gravelly and covered logs. In this construction one has got explosive bomb, but the monument was not injured. In 1958, Benoit was building the main building is connected to the vestibule.  
 
 
 

  Current state.

At the moments, with virtually no changes save the appearance of the Mikhailovsky Palace, the main lobby and the White Hall. According to sketches of Carlo Rossi were restored household items, furniture and interior of the Mikhailovsky Palace. The rest rooms have been refurbished by the museum halls personal decree of Emperor Nicholas II in 1895. At the same time, and was established by «Russian Museum of Emperor Alexander III». V. Svinin has re-planned living rooms in the halls of the Mikhailovsky Palace Museum. Hi is the young Russian architect of selected for this special case the responsible Commission. It was then a lot of controversy about the legality of these changes, the Mikhailovsky Palace, but the architect was able to make efficient and very successful. B. Svinin retained the basic original plan and all the historical examples of finishing the Mikhailovsky Palace, organically combining them with the possibility of Russian Museum.