The pavilion-monument, closing the perspective of one of the 12 paths, was erected in 1786 by the architect Cameron. Originally, it was a memorial pavilion dedicated to Maria Feodorovna's sister, Frederica. Cameron designed the monument in the form of a rectangular aedicula, an open niche not intended for a 360-degree view. To fully appreciate the noble simplicity of the pavilion, surrounded by dense trees, a visitor had to reach it via the winding Philosophical Path from the side of the Triple Linden Alley. Columns and pilasters made of pink marble on the sides of the semicircular niche slightly soften the strictness of its appearance. Such memorial monuments were often seen in landscape parks. They evoked melancholy, awakened memories, and romantic sadness. Therefore, a solitary path called the Philosophical Path leads to the pavilion. Walking along it is a change of feelings, moods, and a sentimental immersion into the past. The importance of this path is indicated by the fact that the Monument is designed to be viewed only from one side, from the side of the path. It stretches past the mournful cast-iron gates, on the posts of which are images of death and sorrow emblems tied with wreaths: tear vases and overturned extinguishing torches. The gates were designed by Thom de Thomon. They are now heavily damaged. Originally, in archival documents and historical plans, the structure was called a Monument. On one of the plans dated 1803, it is written: “Plan and facade of the Monument.”

Then, over the course of several years, several more relatives of the Empress died: her sister Elizabeth, her brother Duke Karl, her father Duke Friedrich Eugen of Württemberg, and then her mother, Duchess Frederica Sophia Dorothea. And in 1807, two decades after the pavilion was built, the famous Russian sculptor Ivan Petrovich Martos, creator of the monument to Minin and Pozharsky on Red Square in Moscow and many other magnificent sculptural works, adorned it with a wonderful sculptural composition. The central part of the composition, designed as a granite pyramid, is decorated with a medallion featuring relief portraits of the Duke and Duchess of Württemberg, Maria Feodorovna’s parents. Nearby is a female figure bowed in deep sorrow, with outstretched arms, as if collapsed in exhaustion against the stone, and an angel with wings removing the veil from the funerary urns. The sculptural relief of the lower part of the composition, allegorically interpreting themes of love and fidelity, is divided by Martos into three parts: the side parts correspond to the figures of the angel and the grieving woman positioned above them, and the central part corresponds to the pedestal bearing the funerary urns. The subject of the central relief is the handshake of the spouses who have found each other in another world, as an affirmation of faith in a future reunion.

On the pedestal, two urns made of white marble can be seen. They are entwined with a garland and covered with a single veil. To the right of the pedestal is a Winged Genius removing the veil. At his feet is a white marble shield decorated with coats of arms and a garland. On the other side of the pedestal is a woman in ancient clothing, wrapped in a cloak, with a crown on her head. The mourner has lowered her head onto outstretched hands.

The entire composition stands against the background of a truncated red granite pyramid. On it is inscribed: “To Parents.” This inscription gave the structure its new name, which has become established — the Monument to Beloved Parents.

Interestingly, this is not one but two federal monuments: the first — “Monument to Beloved Parents” by architect Cameron and sculptor Martos, and the second — the gates of the “Monument to Beloved Parents,” architect Thom de Thomon.

Sources:

http://love-gorod.ru/pavlovsk/obj/pamyatnik-roditelyam

https://www.votpusk.ru/country/dostoprim_info.asp?ID=10112

https://www.citywalls.ru/house25756.html