Pavlovsk Palace is a unique and beautiful structure that was once the residence of Emperor Paul I. The majestic palace is located near Tsarskoye Selo, on a small elevation, making it clearly visible from any point in the city. Many talented architects contributed to the creation of this architectural gem of world significance, including Charles Cameron, Vincenzo Brenna, Andrey Voronikhin, Giacomo Quarenghi, and Karl Rossi, as well as the best Russian sculptors Mikhail Kozlovsky, Ivan Martos, Ivan Prokofiev, and Vasily Demut-Malinovsky.

The vast hunting grounds, located 37 km from Saint Petersburg, served as a sort of concession from Empress Catherine the Great to her disliked son Paul I and his wife Maria Feodorovna, in gratitude for the birth of the dynasty’s heir, Alexander. This happened in 1777. There was no settlement on the gifted lands at the time; it appeared only with the start of the palace’s construction.

In the village of Pavlovsk, two small houses were built for the future owners of the estate, named “Paul’s Delight” and “Maria’s Valley.” Preparatory work was carried out according to a project developed by the Scottish architect Charles Cameron. Besides creating a magnificent building, the plan included laying out a large English-style park around it, with pavilions, ponds, and gazebos.

In 1782, when the first stone was laid, the couple was traveling across Europe under the pseudonym of the Counts of the North. During their trip, they acquired artworks, household items, and a collection of fine porcelain for their future family nest. When construction was completed, Paul gifted the new estate to his wife, and over time Pavlovsk Palace officially became an imperial residence.

After Paul I was killed, the palace was managed by his widow, and after her death, it was inherited by Nicholas I’s younger brother Michael. More than 20 years later, the residence’s owner became Nicholas I’s son, Constantine. In 1872, access to the library and museum of antiquities was opened here to a wide circle of high society, and a monument to Paul I was erected on the square in front of the palace.

By Paul I’s order, architect Charles Cameron built Pavlovsk Palace to be completely unlike the usual residences of Catherine’s time, which exuded coldness. He absolutely did not want the endlessly long enfilades of numerous halls to overwhelm the residents of the palace with excessive brilliance and splendor. The rooms had to be comfortable and cozy, perfectly symmetrical.

The master planned to build Pavlovsk Palace as a three-story estate in the classical Palladian style, crowned with a dome. Two open semicircular galleries and several wings intended for service use were attached to it. The pediment of the main building is decorated with four pairs of elegant columns located at the level of the second and third floors.

The decoration of the main facade is successfully complemented by an openwork stucco frieze adorned with acanthus leaves, which encircles the palace on all sides. Above the main entrance are three round medallions in the form of bas-reliefs depicting a unique allegory of Architecture, Art, and Painting. The entire central facade is decorated with handmade stucco, coats of arms and monograms, trophies, and Roman armor.

The facade’s projection is designed as a portico adorned with six columns. The dome crowning the roof is supported by 64 columns. To emphasize the palace’s grandeur, in 1796 architect Brenna increased the height of the already built wings and open galleries. Additional rounded-shaped buildings and a small cozy house church were attached to them.

Ultimately, the palace’s central facade became almost a full circle, interrupted only at the place intended for the ceremonial carriage entrance. The purposes of some rooms inside the building were completely changed. After a fire in 1803, architect Voronikhin continued the work. Construction lasted a full 50 years, but the original classical style idea was preserved.

The luxurious interior halls of the palace stand in direct contrast to the building’s exterior austerity. The exquisite interior decoration was chosen very carefully, and the abundance of genuine masterpieces of world art is striking. The first floor houses service and living quarters, while the entire second floor is dedicated to ceremonial halls where official receptions were held.

The ballroom is located in the corner of the first floor and was used for small family celebrations. The walls are decorated with a frieze made of openwork gilded stucco, which looks exquisite against the pink-blue walls adorned with beautiful canvases by artist G. Robert. On the fireplace are elegant bronze figurines by French masters.

The walls of the Old Drawing Room are covered with green taffeta, perfectly complementing the furniture set made in the Louis XVI style from gilded wood. The silk upholstery of chairs and sofas, decorated with embroidery, was ordered from France. Nearby is an open card table with mother-of-pearl chips, and the ceiling is crowned by a bronze chandelier with crystal decorations, crafted by talented masters from St. Petersburg.

The billiard room is covered by a weightless dome in the shape of a sphere, decorated with unique stucco. The walls are divided into rectangles by stucco moldings, with a wide frieze with ornament above. The room contains furniture made of mahogany, a table decorated with gilded bronze. Here are clavichords with mother-of-pearl keys set in a case made of inlaid wood, and a billiard table stands in the center.

The white dining room became the most spacious room on the first floor. Through large glass doors, one can access the porch, which offers a wonderful view of the Slavyanka River. The wall panels are decorated with picturesque drawings depicting the local park. In the corners of the room stand four marble vases depicting mythological characters. Unique lamps made of milk glass hang above the fireplace.

The “Lantern” study is the creation of architect Voronikhin, who replaced the outer wall with a semicircular lantern facing the garden. The white marble semi-rotunda visually increased the room’s height, supported by two caryatids. The walls with a greenish tint echo the garden’s natural greenery. The Empress collected a rare collection of paintings by European masters here.

The Egyptian vestibule looks like a small room whose walls are painted in the color of Pudozh stone and decorated with bas-reliefs and stucco cornices. The vestibule is adorned with 12 statues depicting figures from Ancient Egypt. They seem to emerge from the walls, each figure symbolizing a specific month. The base is decorated with scenes depicting the life of people during the corresponding period.

The Italian Hall is a truly luxurious room located on the second floor. Its walls are finished with artificial pink marble, and a picturesque lantern is located under the ceiling. The room is illuminated by a large opening made in the dome. The chandelier in the hall is the most beautiful in the entire palace. There is a small collection of antique marble sculptures here.

The Throne Hall covers an area of 400 m², with niches containing beautiful stoves located in the corners. Huge arched windows supported by caryatids are installed here. The ceremonial bedroom is decorated with white silk, with fabric depicting beautiful bouquets of flowers entwined with ribbons. The ceiling is designed as a gazebo entwined with flowers. Here is also a beautiful marble fireplace decorated with inserts of colored glass.

In the last years, the residence was owned by Nicholas I’s grandson, Ivan Konstantinovich. After the revolution, the palace was opened as a public museum. In the 1930s, some valuables were sold to foreign collections to finance Soviet industry. In 1942, palace staff managed to evacuate about half of the unique exhibits before the occupation began.

The Nazis organized a hospital, military barracks, and Gestapo offices in the palace premises. Rare species of park trees were used for firewood. In 1944, while retreating, the fascists set fire to the unique complex. The building burned down to its shell. Restoration work began soon after, and by 1957 five halls were open to visitors; restoration continued until 1978.

Sources:

https://www.euromag.ru/lifestyle/pavlovskij-dvorec/

https://pavlovskmuseum.ru/about/history/