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Gatchina is the famous suburb of St. Petersburg, where the Romanov dynasty founded their royal residence. The history of Gatchina started in the beginning of the 18th century when the czar Peter I ordered to build a mansion there and then gave it to his beloved sister, Natalia. After the death of the Princess the mansion repeatedly passed from one owner to another until in 1765 it was acquired by the Empress Catherine II with the purpose of giving it to her favorite Grigory Orlov. The Count started extensive construction works in Gatchina: he invited the prominent Italian architect Antonio Rinaldi. After the death of the Count Orlov Gatchina became the residence of Paul I. Paul settled in Gatchina for 18 years. In 1796 Paul became Russian Emperor and granted Gatchina the status of the city and its own emblem.
Introduction…………………………………………………………………..3
The Palace of Gatchina……………………………………………………….4
2.1) History………………………………………………………………4
2.2) Applied And Decorative Arts at the Gatchina Palace……………….6
2.3) Appearance of the Gatchina Palace………………………………...11
2.4) The interior of the Gatchina Palace………………………………...12
3) Conclusion………………………………………………………………….22
4) Bibliography………………………………………………………………..23
The Lower Throne Hall
Is the largest of the private apartments and the strictest in its furnishings. The walls were carpet covered with gilt-framed pictures as tradition went in the 18th century. Italian genre paintings of the 17th -18th centuries, landscapes and portraits of Menshikov, Minich and Sheremetev could be seen here. An ivory obelisk glorifying Paul Fs victories over Napoleon stood upon the dark-red cloth covered table. The huge ceiling-to-floor portrait of Peter I on horseback was the focal point. The early records listed: "The image of His Majesty Peter the Great mounted on a horse. The portrait is fairly good but the artist is unknown". The picture is attributed to the French artist Jean Jouvenais at present. A state chair was installed against the portrait of Peter I in 1797 and the room was called then the Lower Throne Hall.
The Lower Chevalier Chamber
Was austere as compared to other private rooms since it lacked ornamental paintings and had cold greenish-blue tints of the walls and ceiling. The chamber was large and dim (the windows facing the vestibule). It featured a semi-official decor: three large pictures, two portraits of the Golitsin family and chairs at the walls. Court officers were on duty there. The tapestry portrait of Count Gri-gory Orlov invariably attracted attention. It was a masterpiece of the Petersburg Tapestry Factory built up by Jean-Baptiste Rondelet in 1763. Remodelling the Arsenal Block in the 1850s, the architect Roman Kuzmin carefully preserved the architectural and decor features of his predecessors.
The Gothic Gallery
The striking GOTHIC GALLERY arranged on the ground floor of the Arsenal Block along the apartments of Nicholas I (facing the courtyard) was conceived by R. Kuzmin as a retrospect in 1847-1851. Medieval aspect was prompted by the elongated proportions, Gothic vaults, fanning-out thin columns, stained-glass windows, oak-wood wainscots, typical ornaments and pointed arches. The gallery housed a collection of 18th-century portraits, chinaware and pieces of furniture made by Andrey Tur after Oriental specimens.
The Chinese Gallery
Was designed by the architect Roman Kuzmin on the main floor of the Arsenal Block, its windows overlooking the Dutch Gardens. The gallery runs along the palace facade above the Gothic Gallery. Similar to the Gothic Gallery, all the window and door casings, wainscoting and parquetry were made of finely polished oak-wood. The inner pointed window frames were decorated on top with stained-glass panes looking like medieval tracery work. One was stunned with the abundance of Oriental pieces of art: chinaware (vases, dishes, goblets, cups, statuettes, vials and vessels), lacquered objects of various applications, shapes, colours and sizes, pieces of furniture gold-painted or stone-carved - thousands upon thousands of exhibits arranged in rows several tiers high rendered an inimitable effect with their exotic beauty.
The Oak Chamber
Of the Arsenal Block was noted for its integrity. The walls were covered with light-hued oak-wood wainscots and carved frames holding bright flower garland embroideries. The vaulted ceiling tinted to imitate oak-wood and ornamented with floral patterns matched perfectly the relatively small space. The carved consoles supported porcelain sculptural groups made in the mid-eighteenth century at the renowned Meissen factory.
The Arsenal Block Drawing Room
On the ground floor of the Arsenal Block is splendid among other ceremonial and private apartments featured in the retrospect style. The Drawing Room was noted for its plafond moulded gilt ornamentation, 18th-century German landscapes, gilded bronze and the mid-nineteenth-century set of furniture by Petersburg cabinet-makers.
The Chinz Chambers
In the Arsenal Block spelt gay colour and cosiness. The walls and the furniture were upholstered with British chintz. The drapery treated with wax allowed damp cleaning. The bright floral ornament gladdened the eye.
The Arsenal Block Drawing Room
On the ground floor of the Arsenal Block was designed in 1858 with sandy tones predominant in its colour scheme. The delicately moulded sprouts on the vault were set off beautifully by the pale yellowish ground. The main decorative feature of the interior were paintings in gilded frames. In those years Alexander II would often come to Gatchina on his hunting outings which, indeed, determined the choice of ornamental pieces: stuffed beasts placed over the door, G. Grooth's painting of a hound set into the fireplace screen and a bear-skin spread on the floor. The upholstered quilted furniture came from the renowned workshop of A. Tour. The room is an interesting specimen of mid-nineteenth-century palace apartments illustrating the abandonment of traditional principles of decorating palace interiors in favour of middle-class ideas of comfort and cosiness.
Conclusion
In May, 1917, the
Provisional Government issued a decree on the establishment of artistic
and historical commissions in the towns of Peterhof, Tsarskoye Selo
and Gatchina for the purpose of “acquisition, recording and inventory
of all movable and immovable property of the former palaces”.
One year later, on May 19, 1918, the Gatchina Palace opened to the public.
The Palace and its parks suffered significant damage during World War
II.
Restoration work began as late as 1976. It was not until 1985 that the first 18th century state rooms were opened to the public, including the Anteroom, the Marble Dining Room, Paul’s Throne Room and the exhibition displayed on the second floor of the Central Block. In 1993, the clearing of the famous underground passage was complete and its echo can now be heard again.
Bibliography
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