Catherine Palace in Tsaritsyno. Tsaritsyno Grand Palace

Grand Tsaritsyno Palace- the palace, which is part of the development complex of the Tsaritsyno palace and park ensemble. Built by Matvey Kazakov in 1786-1796 on the site of the dismantled buildings of Vasily Bazhenov, the palace became main building for the failed residence near Moscow of Catherine II.

AFTER DEATH CATHERINE II In 1796 G. GRAND PALACE BIG TSARITSYN PALACE,

WHILE CREATING in Tsaritsyno park of the BIG PALACE BEFORE M.F. KAZAKOV THERE WAS A DIFFICULT TASK - HE HAD TO BUILD A NEW BUILDING INTO AN ALREADY ESTABLISHED ENSEMBLE.
ON THE ORIGINAL PROJECT GRAND PALACE IT WAS TWO SQUARE THREE-STOREY BUILDINGS, AT THE CORNERS OF WHICH FACETED OCTAGONAL TOWERS UNDER HENTED ROOFS ARE LOCATED. THESE TWO BUILDINGS WERE CONNECTED BETWEEN THEM WITH A FOUR-STOREY NARROW GALLERY WITH A HIGH PITCH ROOF TOP WITH A BELVEDERE. BUT THE FIRST VARIANT OF THE PROJECT WAS NOT IMPLEMENTED. AS A RESULT, THE BUILDINGS, TOWERS AND GALLERY HAVE BEEN LOWERED ONE FLOOR AND WALL AND ROOF DECORATION IS SIMPLIFIED.

AFTER DEATH CATHERINE II In 1796 G. GRAND PALACE REMAINED UNFINISHED. IN THE EARLY 1880S GRAND Tsaritsyn Palace, NOT REPAIRED FOR MORE THAN A CENTURY, IT BEGAN TO RAPIDLY DESTROY, AND TO AVOID A DISASTER OR FIRE, THEY DECIDED TO REMOVE THE REST OF THE ROOF AND DESTROY THE COVERINGS OF THE TOWERS.

Made in the pseudo-Gothic style characteristic of Tsaritsyn, Grand Tsaritsyno Palace bears the clear features of classicism and is a striking monument of architecture of the XVIII century. Throughout its history, the building did not find a worthy use; already at the beginning of the 19th century, it began to turn into a picturesque ruin.

(1786-1796), built by architect. M.F. Kazakov on the site of the dismantled Main Building of the Palace of Her Imperial Majesty and Their Imperial Highnesses V.I. Bazhenov.

Construction was carried out mainly by assistant architects. Unlike Bazhenov's buildings, Grand Palace M.F. Kazakov is a more compromise version of the combination of the classic space-planning structure of the palace building with the “Gothic” decorative decoration superimposed on it. The palace is 68 sazhens long and 20 sazhens wide and dominates the panorama of Tsaritsyn. The estimated construction area is about 8000 sq.m. The enlarged scale of the white-stone decor corresponds to the size of the building: columns of a large order at the corners of the towers, lancet arcades of loggias, and cornices.

Every year, thousands of tourists come to Moscow from all over our country and from abroad. And what can a tourist see in Moscow and where to go local resident? Contrary to popular belief, tourist Moscow does not end with the Kremlin, but rather begins with it. There are many beautiful and amazing places for walking in Moscow. Tsaritsyno is one of those places. You can come here as part of a day trip, just walk warm summer evening or visit the museum part of Tsaritsyno, if you want to admire the estate not only from the outside, but also from the inside.

Tsaritsyno Park is considered a protected area, so there are a number of rules on its territory that the visitor must comply with. Entrance to the Tsaritsyno park is prohibited with animals and bicycles. Detailed rules of conduct in the park can be studied on the official website of the Tsaritsyno Museum-Reserve.

How to get to Tsaritsyno

Near the Tsaritsyno park there are two metro stations "Tsaritsyno" and "Orekhovo" at once. And if in the case of c it’s not so important where to start inspecting the territory, then this approach will not work with Tsaritsyno. Like the theater, which begins with a hanger, it is better to enter Tsaritsyno Park through the main entrance, you won’t climb into the theater through the back door, it will also lead you where you need to, but what about the red carpet ?!

The central entrance to the Tsaritsyno park is located next to the Tsaritsyno metro station. From the station you need to go under railway bridge and here we are. But after inspecting the entire territory, you can leave Tsaritsyno from the Orekhovo station, which is located very close to the exit from the park. The territory of the park is so huge that after walking through the park and exploring museum expositions forces to return to the Tsaritsyno metro station may not remain.

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Walking through the gate, as if you find yourself in a fairy tale. The entrance to the park separates us from reality and takes us from the bustling metropolis to the 18th century. Of course, this is a figure of speech, and no matter how you cut the flower beds, you still won’t understand what century the time machine took us to, this will be recognized later when we get to the Tsaritsyno palace and park ensemble. In the meantime, a pleasant aperitif.

Before our eyes appears a beautiful composition in the form of the Middle Tsaritsyno Pond with a small bulk island in the form of a horseshoe, on which is located light and music fountain. Two bridges lead to the fountain, and benches are installed around the fountain itself, so that in the evening you can comfortably enjoy the beauty of the illuminated jets of water. In the midday heat, it is very difficult to be in the sun, and there is absolutely no greenery near the fountain, but there is enough shade of trees around the pond itself.

We go around the pond on the right, so that the Middle Tsaritsyno Pond remains on the left, and the surface of the Upper Tsaritsyno Pond becomes visible on the right.

In this part of the pond there is a small island called bird island. There are two more such islands on the Upper Tsaritsynsky Pond, and the pond itself is very large, it will be problematic to walk around it.

The Upper and Middle Ponds are separated by a dam.

Further along Vozdushnaya Street, we are heading straight to the most interesting, to the Tsaritsyno palace and park ensemble. To get to the Tsaritsyno Palace, you need to go under the Figured Bridge, or climb it, for this there is a staircase nearby. The figured bridge is one of the earliest buildings in Tsaritsyno, and its architect was Vasily Ivanovich Bazhenov, who built this bridge and the entire palace ensemble for Empress Catherine II.

The bridge was placed at the intersection of the main entrances to the Tsaritsyno estate, so it can be regarded as a gate to the estate, and the intricate architecture gives it the appearance of a real defensive structure with towers and loopholes. The bridge has reached our days almost intact, so looking at the bridge we see it exactly as Bazhenov intended and built it.

To the left of the bridge is the building of the Third Cavalier Corps and the Church of the Icon of the Mother of God "Life-Giving Spring" in Tsaritsyno.

The first church on this site appeared in 1683, later wooden building was replaced by stone. Last time The temple was rebuilt in 1765.

Located a little further big bridge through the ravine. The construction of the Big Bridge remained unfinished by Bazhenov, the Empress removed him from the construction of her residence before the bridge was completed. It was completed only in the 19th century.

If you return to the Figured Bridge and go along it to the right, then going around main palace, past the Semicircular Palace and the Opera House, we will go out to the Grape Gates. Initially, the gates were called Figured. The name Grape appeared in the 20th century due to the intricate decor, reminiscent of a bunch of grapes, hanging over the span of the gate. The gates serve as a conditional boundary between the park area and the architectural ensemble. They also complete the existing perspective between the Big and Middle bridges.

Well, passing under the Figured Bridge, we find ourselves in the amphitheater of the Tsaritsyno architectural ensemble. Before Grand Palace there are several foundations. To the right of the palace are the foundations of the Kamer-Yunfar Corps.

And in front of the Grand Palace Tsaritsyno, the foundation of the Grand Cavalry Corps, built by Bazhenov in 1784 and dismantled by the second architect Catherine Palace Kazakov in 1795.

To the left of the Grand Palace is the First Cavalry Corps, built by the same Bazhenov.

But the main pearl of the whole ensemble is undoubtedly the Grand Palace itself. Palace with a history of destruction. The project of the Tsaritsyno Ensemble was approved, and in 1776 a grandiose construction began, stretching for a decade. The project was difficult, Bazhenov even had to take out loans in his own name to complete the construction. Catherine II inspected the buildings in 1785 and her verdict was crushing for Bazhenov. The empress did not like the palace categorically. Catherine ordered to dismantle the palace. Matvey Kazakov, a student of Bazhenov, was appointed the new architect, and he set about building a new palace. Construction was hard and long. Catherine II died in 1796, when the construction of the Tsaritsyno Palace was completed at a rough level.

From that moment on, the story of the withering of the Tsaritsyno Palace begins. None of the heirs to the throne liked the palace and Tsaritsyno did not become the royal residence.

The Grand Palace is connected to the Bread House by a gallery with an arch.

In front of the Bread House there is a monument to two architects who worked on the construction of the Tsaritsyno architectural ensemble, Bazhenov and Kazakov.

Tsaritsyno Museum

The entrance to the Tsaritsyno museum is also located here. The entrance to the interior of the palace is through underground passages, so the palace is completely sealed from the street. On the official website of the Tsaritsyno Museum, you can find all the necessary information related to the museum’s work schedule and ticket prices.

In the very first hall of the museum, a model of the palace is installed, demonstrating the state of the building in which the restorers got it. Abandoned, uninhabited, the palace resembled a prison. In 1816, the writer Nikolai Karamzin commented on him: "The palace is like a dungeon."

The Grand Palace houses both permanent and temporary exhibitions. And if it is forbidden to photograph temporary exhibitions, then permanent exhibitions can be photographed, of course, without a flash and without using a tripod. At the beginning of the tour, we are greeted by a hall with archaeological finds discovered on the territory of Tsaritsyno.

Another interesting exhibition is the "Silver Pantry" of the palace. It presents jewelry from the 16th to the 19th century by famous jewelry makers and jewelry workshops.

In addition to the expositions, you can enjoy just a walk through the restored rooms of the palace. True, it will be difficult to imagine how they lived and had fun here, because music has never played here and not a single ball has been held.

And from the windows of the palace there are wonderful views of the territory in front of the palace.

Catherine's Hall is the most luxurious hall of the Grand Palace. After reconstruction, it became the main hall of the palace and was named after the ideological inspirer of the construction, Empress Catherine II. Parquet floor, crystal chandeliers, stucco decoration make the Catherine Hall delightful.

The main decoration of the hall is a marble statue of the empress, weighing 3 tons. This statue adorned the hall of the Moscow City Duma and miraculously survived after the 1917 revolution.

Having walked a lot around the Grand Palace, it took more than one hour for a detailed examination of all the expositions of the palace, we moved to the Bread House. The bread house got its name in the 19th century from the high reliefs on the facade of the house - a loaf of bread with a salt shaker. Behind the backs of the architects of the Grand Palace, a high relief and a monogram of the letters "X" and "C" (bread and salt) are visible.

We find ourselves in park area Landscape Museum-Reserve Tsaritsyno. Its territory is simply huge, you can walk around it no less than the museum itself. But you won’t be bored in the park, because in addition to the amazing nature, there are many man-made attractions here.

And although there are sometimes information stands with a map of the area in the park, it is very easy to lose a landmark. It is good that although there are fewer people here than in the front part of the reserve, they still meet and you can ask them for a way out. We went for a walk wherever our eyes look.

In addition to those described above, the following sights remained unnoticed by us in Tsaritsyno Park: the Milovida pavilion, the Temple of Ceres rotunda, several decorative bridges and statues. The more interesting it will be for you to walk in a beautiful park.

Walking in historical places is not only pleasant from an aesthetic point of view, provided that these historical places restored and put in order, but also useful for general development. For example, in addition to the history of the architectural ensemble of Tsaritsyno, it will be interesting to know the following. The first mention of the place that we know as Tsaritsyno goes back to the 16th century. In those distant times, these places were called Black Dirt. Subsequently, this name was given to the estate, which was erected by the boyars Streshnevs. Its owners changed and in March 1683, Ivan Streshnev's grandson Alexei Golitsyn became its owner, whose descendant Lev Sergeevich Golitsyn became the chief winemaker of the Specific Estate

The Tsaritsyno estate is one of the most beautiful and mysterious places in Moscow. Located in the southern part of the capital, the area manor park– 550 hectares. The museum-reserve includes a magnificent palace ensemble, a huge landscape park with pavilions and sculptures, picturesque ponds, as well as an incredibly beautiful light and music fountain.

I come here often as I live nearby - that's why I have accumulated a lot of photos of this amazing place. The story about Tsaritsyno had to be divided into several parts:

The palace ensemble of Tsaritsyno was erected at the end of the 18th century in the pseudo-Russian Gothic style by the best architect of that time, Vasily Bazhenov. However, later, due to the whim of the Empress, the Grand Palace had to be rebuilt. The new building was erected by a student of Bazhenov - Matvey Kazakov. Near the walls of the Bread House, a bronze monument was erected to famous architects.

In front of the Grand Palace there are two three-dimensional models that give an idea of ​​Bazhenov's original design and how the Tsaritsyno estate looked like after it was rebuilt by Kazakov.

Unusually harmonious and elegant, the Figured Bridge was conceived as a front entrance from the side of the ponds. This is the very first Bazhenov building here; construction began in May 1776.

Nearby is another passage to the palace ensemble, the Big Bridge across the ravine, decorated lancet arches and rich patterned compositions.

Grand Palace, main building architectural complex immediately catches the eye. He is very similar to fairytale castle: elegant decor, towers with spiers, snow-white columns.

The spiers of the towers are decorated with golden stars.

A gallery with a beautiful spiked arch connects the Grand Palace with the Bread House. This photo - business card Tsaritsyno. The estate also has another very recognizable structure - the Grape Gate.

The Large Kitchen Outbuilding also received such a name - the Bread House because of the images of a loaf and a salt shaker used in the decor of the walls. This building was to house kitchens, storage for supplies, and rooms for servants.

Opposite the Grand Palace, three Cavalier Corps are lined up. It was assumed that they would have various office premises, ladies-in-waiting and security.

The first building was intended for the retinue of the empress. Now the directorate of the reserve museum is located here.

Second Cavalry Corps.

In the third building today there is a cultural and educational center.

Between the Cavalier Corps - the current temple in the name of the icon Mother of God"Life-giving source". The church, rebuilt from wood to stone in the middle of the 18th century, is dedicated to an icon that heals from physical ailments.

Not far from the Figured Bridge, on the edge of a high slope, is the Small Palace, the private quarters of Catherine II. The main decoration of this building is a significant monogram with the letter “E”, the symbol of the estate.

Very close to it is another beautiful architectural structure - the Opera House. It was supposed to arrange musical evenings, receptions and celebrations. The upper part of the side walls is decorated with double-headed eagles, symbols of the Russian autocracy.

Nowadays, the Opera House hosts exhibitions, concerts classical music and registration of marriages.

The estate is very popular with honeymooners, it is perfect place for a wedding walk.

In the Tauride Hall of the Grand Palace, you can arrange a photo shoot in historical costumes from the era of Catherine the Great. To see yourself in a new look and take photos with your camera as a keepsake costs 250 rubles. Family ticket for four people - 800 rubles.

The estate bears the name "Tsaritsyno" not by chance. The area formerly called « Black Dirt » , was renamed at the behest of Catherine II, who bought land here for the construction of a country residence. For her idea, the queen chose beautiful place south of Moscow. Grandiose construction work was carried out for about 10 years, but was never completed. Until 2007, the abandoned tsarina's possessions lay in ruins.

Not so long ago, reconstruction was carried out and the estate immediately became very popular - in good weather on weekends in the central part there are always a lot of people. But, since the museum-reserve is very large, there are still places where you can enjoy peace and quiet among beautiful nature.

Secrets of Tsaritsyno

These places hold many secrets. It is known that Bazhenov was a Freemason and built by him architectural structures hide in themselves encrypted Masonic symbols.

The riddle of the Empress's cooling down for construction has not been completely solved. There are only legends and suggestions why Catherine did not like her new residence. According to one report, she was outraged by the Masonic symbols woven into the pattern of structures. According to other sources, the tsarina really did not like the Bazhenov buildings because of the low ceilings and cramped rooms.

One way or another, the Empress ordered the palace and some buildings to be dismantled and rebuilt. The completion of the construction of Tsaritsyno Selo was prevented by the outbreak of war with Turkey, there was not enough money and the finishing work was never completed. The construction was abandoned and neither Catherine herself nor other royal persons ever lived here.

Continuation of the story about the estate:.

How to get to the estate Tsaritsyno

On public transport: st.m. Tsaritsyno, exit from the first car from the center, then along the transition - to the left to the end. Coming to the surface at the radio market, continue moving in the same direction and in a minute you will see Main entrance to the park. You can also enter the reserve from the Orekhovo metro station.

By car: Moscow, st. Dolskaya, d.1. It is more convenient to drive up to the museum-reserve from the side of Tyurina Street - there are two large parking lots here. On weekends, in good weather, it is worth arriving early in the morning - there may not be a place in the parking lot. In the evening, there are usually no problems with parking.

Coordinates: 55°36’45″N 37°41’1″E

Opening hours

The territory of the museum-reserve is open daily from 6-00 to 24-00.

The Grand Palace and the Bread House are open:

• Tuesday to Friday - from 11:00 to 18:00
• on Saturday - from 11-00 to 20-00

Monday is a day off.

Greenhouse opening hours:

• from Wednesday to Friday - from 11:00 to 18:00
• on Saturday - from 11-00 to 20-00
• Sunday and holidays - from 11:00 to 19:00

The light and music fountain is open daily from May to September from 9-00 to 23-00, the backlight is turned on from 21.00 to 23.00.

Ticket price

Entrance to the park is free.

A single ticket to the Grand Palace and the Bread House - 350 rubles

Comprehensive ticket to three greenhouses - 250 rubles

Amateur photography - free of charge

Museum-Reserve "Tsaritsyno" participates in the action of the Department of Culture of the city of Moscow "Museums of Moscow - free of charge on the third Sunday of each month."

Copying text and photos is prohibited! The materials are protected by copyright law.

Story palace and park complex Tsaritsyno is like the story of Cinderella from the fairy tale by Charles Perrault, which combines the hard and sad life of the heroine, the dislike of the stepmother and the happy ending of the fairy tale.

In the 1590s, the lands that lay down the Moscow River from the Kolomenskoye to the mouth of the Pakhra belonged to the Godunov family and bore the unattractive name "Black Dirt".

For almost two centuries, the land passed from hand to hand, until in 1775 Chernaya Mud, with all its buildings and a park, was bought by Catherine II from Prince Sergei Dmitrievich Kantemir. And it happened like this. The Russian Empress settled in the royal village of Kolomenskoye in May 1775 and took walks around the surroundings from here. In fact, Catherine did not like this residence of hers and spoke of it contemptuously: “against Tsarskoye Selo, Kolomenskoye is like a trashy play compared to the tragedy of La Harpe.” On May 4, the Empress made her next voyage and discovered that there are very interesting places not far from Kolomenskoye. This is how she described it in her letter to Baron Grimm in Paris: “Her Imperial Majesty got bored of wandering through the meadows and valleys of the village of Kolomenskoye, where you have the choice of either getting your feet wet, or climbing mountains like a goat, and so, one fine day, her majesty deigned to go to big road, which leads from Moscow to Kashira ... The road led to a huge pond, next to which there was a larger and more picturesque pond; and this pond did not belong to her majesty, but to her neighbor, Prince Cantemir. Here walkers, heading from one pond to another, either on foot or on horseback, at a distance of seven versts from Kolomenskoye, begin to envy someone else's estate, the owner of which, an old man over 70 years old, is completely indifferent to waters, and to forests, and to all scenic views that delight visitors. All he did was play cards and scold when he lost.” The “fighting old man” was none other than Prince Sergei Dmitrievich Kantimir, and the estate that aroused the envy of the empress was the Black Dirt estate once presented to Dmitry Kantemir by Peter I.

Grand Palace and Bread House.

Grand Palace and Bread Gate

After buying the estate, Catherine spent part of the summer of 1775 in a small wooden palace, urgently built in just two weeks. The Empress, fascinated by the local scenery, decided to give these lands a more euphonious name. In one of her letters to Baron Grimm, Catherine wrote: "I called my new possession Tsaritsyn and, by all accounts, this is a real paradise." In the same 1775, the Empress gave the task to her court architect Vasily Bazhenov to develop a project for a pleasure residence near Moscow. The empress expressed several wishes: that the building be in the “Moorish” or “Gothic taste”, and that the park be equipped as a landscape. Catherine II liked the project presented by the architect. On November 20, 1775, a decree was signed on the allocation of 30 thousand rubles from January 1776, and in May 1776 the construction of the palace complex began.

The architect planned the construction of a whole town - five palaces for Catherine II and her son Tsarevich Pavel Petrovich with his family, and around a whole scattering of buildings for the court nobility, houses for servants, pavilions, decorative structures, bridges. A landscape park was also planned with the preservation of most of the existing plantings.

Bazhenov project.

1. Large bridge across the ravine. 2. Cavalry Corps. 3. Hexagonal pavilion (not preserved). 4. Cross-shaped pavilion (not preserved). 5. Figured bridge. 6. Chamber-Yungfer pavilion (not preserved). 7. Small Palace of Catherine II. 8. Palace on the Meadow ("Opera House"). 9. Figured gate. 10. Church of the middle of the XVIII century. 11. Cavalry Corps ("Octahedron"). 12. Large Cavalry Corps (dismantled by order of Catherine). 13. Palace of Catherine II (dismantled by order of Catherine). 14. Palace of the heir to Grand Duke Paul (dismantled by order of Catherine). The palaces of Catherine and Paul during the construction process were connected by a building for the children of Paul. 15. Cavalier Morpus. 16. Kitchen building ("Bread house"). 17. Administration building (not preserved). 18. Stables (not built). 19. Clock tower (was not built). During construction, a gallery with gates appeared, linking Pavel's palace and the Kitchen building.

Small palace.

Middle Palace (Opera House).

The architect chose a high triangular cape between the pond, formed from the overflowing river Gorodenka, and the ravine that cut into it as a place for the location of his ensemble. From the third side approached the "virgin" forest, which later turned into a landscape park. For the architect, this project has become the meaning of his life. In the first year, on the allocated funds, the work went successfully. But when there were problems with financing, in order not to stop construction, Bazhenov even had to take loans in his own name and carry out construction at his own expense. While working on the Tsaritsyno ensemble, Bazhenov was forced to sell his house in Moscow, along with all the furnishings and the library and his wife's estate, and by 1784, Bazhenov had about 15 thousand rubles of debt.

Finally, at the beginning of 1784, money was allocated to complete the construction. The unexpected generosity of the treasury was due to the fact that the next year the empress planned a trip to Moscow. Among other things, she wanted to inspect the new Moscow buildings she had started: at the same time as the Tsaritsyn ensemble, a palace was being built in Kolomenskoye under the leadership of Karl Blanc, and in the Kremlin - the Senate Palace by Matvey Kazakov.

The figured bridge was supposed to serve as a front arch at the entrance to the royal residence from the side of the ponds.

Monument to architects V. Bazhenov and M. Kazakov and Khlebnye Vorota.

By 1785, Vasily Bazhenov was building a unique palace complex in Tsaritsyno, numbering seventeen buildings. On the border between the main building and the flower parterre, there were two twin palaces. One, closer to the pond, was intended for Catherine II (it was her "Grand Palace"), the other - for "their imperial highnesses", the family of the heir to the throne, Grand Duke Paul. The palaces were two-story, with high openwork parapets. Above each, in the center, there was a dome, crowned with a columned belvedere - "gazebo". Initially, between the palaces of the queen and the Grand Duke, Bazhenov planned a greenhouse. But while construction was going on, the grand dukes Alexander (future tsar) and Constantine were born in the family of the heir. Then the architect proposed, and the Empress approved, to unite the twin palaces with the “Palace for the Children of the Imperial Family”. For Catherine II, Bazhenov erected two more palaces: "Medium" and "Small". He placed them on the high bank of the pond. Together with the main one, they made up a group of palaces of the Empress. Architectural ensemble complemented the Big Cavalry Corps, the Kameryunfar Corps, the Third Cavalry Corps, the Kitchen building and other structures of various sizes and configurations. The church was included in the ensemble. Holy Mother of God The Life-Giving Spring, built in the middle of the 18th century, under the previous owners. For faster and more convenient access to the village, "Tsaritsynsky Prospekt" is being laid, lined with birches. The alley stretched for two versts leading directly to Kolomenskoye.

The building of the Kitchens, in which Bazhenov combined all the services necessary in the palace economy (kitchens, pantries, laundries, etc.). Its inner courtyard was supposed to hide the economic "everyday life" of the estate from its inhabitants. Relief emblems are placed on two facades facing the ensemble: a loaf of bread with a salt shaker on it. Apparently, according to them, the Kitchen Building was later called the “Bread House”.

Inner courtyard of the Bread House. Photo by Valery Ulyanov.

However, almost completely completed, Tsaritsyno never became the current imperial residence. At the beginning of the summer of 1785, Catherine II, who arrived in Moscow for a short time, deigned to visit the village of Tsaritsyno, accompanied by an architect. After a walk in the park, the empress departed for Kolomenskoye and, it seemed, nothing foreshadowed the coming catastrophe. However, some time later, the highest order was issued to demolish the buildings intended for the imperial family: the Grand Palace of Catherine II, combined with the palaces of Paul and the Grand Dukes Alexander and Constantine, as well as the Cavalier Corps, that is, almost the entire central part of the ensemble. The empress herself wrote to her heir Pavel Petrovich that her Grand Palace “must be changed inside, because it would be impossible to live in it,” and described in more detail her first impressions of the interiors to Baron F.M. Grimm: "The vaults were too heavy, the rooms too low, the boudoirs cramped, the halls dark, the stairs too narrow."

3rd Cavalry Corps.

Cavalry Corps (Octahedron).

This was a big blow for the architect. Bazhenov at first tried to adapt to the new requirements of the empress, but having cooled off to him, Catherine approved the project of another Moscow architect, M.F. Kazakov, who continued construction. The palaces built by Bazhenov were demolished to the ground by July 1786, later their fate was shared by the Big Cavalry and Kameryunfar corps.

It is possible that the architect fell into disgrace because of his sympathy for the Masons. It is known that Vasily Bazhenov had close contacts with the Masons and built several structures for them. IN in large numbers Masonic symbols are also presented in the decoration of buildings in Tsaritsyno. Here is what Count Bruce wrote about Masonic symbols and Bazhenov in 1785 to Catherine II: “And the point is not even that the Bazhenov buildings in Tsaritsyn are decorated with many Masonic symbols. This is a small sin. And the great one is different. Mr. Bazhenov chose not the palace principle, but the monastic one, as a composition, for the construction of the Tsaritsyno ensemble. Only instead of a cathedral, he meant a pleasure palace, instead of chapels and churches - gazebos for gentlemen and ladies. It seems to me that this is a mockery of the shrines of Orthodoxy, which, apparently, is the duty of the Mason.

Facade of the Grand Palace. 1st option. Drawing by M. F. Kazakov. 1785

Over the next ten years, on the site of the destroyed buildings, Mikhail Kazakov erected an impressive neo-Gothic building of the Grand Palace. But, the completion of the construction of the palace was interrupted with the death of the Empress in November 1796. A few months later, Paul I was crowned in Moscow. Soon the emperor visited Tsaritsyno, after which a decree was issued to stop work. The grandiose epic of twenty years of construction turned out to be unfinished. The ensemble, created by two famous Russian architects, was never in demand for its intended purpose.

V. Ammon. View of the estate Tsaritsyno. 1835

In subsequent years, the unfinished royal residence quickly fell into disrepair, already at the beginning of the 19th century, the buildings began to collapse and overgrow with greenery. During the short reign of Paul, no work was carried out here; deprived of proper care, Kantemirov's "geometric garden" began to dry up.

A. N. Golitsyn. View of the Grand Palace and the Gallery-fence with a gate (from the side of the courtyard). 1893

A. N. Golitsyn. Figured ("Grape") gates. 1893.The figured gate is one of the most amazing and most remarkable buildings of Bazhenov in Tsaritsyn. Sometimes they are called the Grape Gates, after a white-stone bunch of grapes, a “weight” hanging in the arch opening.

Under Alexander I, Tsaritsynsky Park became available for festivities. And in 1856, at the beginning of the reign of Alexander II, a special decree in Tsaritsyn and Kolomenskoye allowed the public to drink tea. Temporary tea houses appeared in Tsaritsyno Park; in addition, some Bazhenov buildings were also adapted for them. Finally, in 1860, after an audit that admitted that the maintenance of the estate did not bring significant income, Tsaritsyno was transferred from the department that managed the royal property to the Department of appanages. Thus, Tsaritsyno ceased to be the personal property of the imperial family.

The Great Bridge spanning the moat is reminiscent of ancient Roman aqueducts.

Having become the property of the treasury, Tsaritsyno was supposed to generate income. At first it was supposed to sell all the buildings for demolition and analysis for 82,000 rubles, but there was no buyer. At the same time, by decision of the Moscow specific office, part of the Tsaritsyno lands was leased out for dacha development, and in the 1870s a whole suburban village New Tsaritsyno. The general condition of the ownerless palace buildings steadily worsened.

Abandoned greenhouse economy went under demolition; some buildings and pavilions were occasionally used and only then underwent cosmetic repairs, but most of buildings were still in disrepair. In 1880 there was a partial collapse of the roof of the Grand Tsaritsyno Palace; in order to avoid accidents, it was decided to remove the remnants of the roof and dismantle the frames of the Gothic completion of the towers.

In the first years of Soviet power, the surviving building of the First Cavalry Corps was used by local authorities, and in the early 1920s, communal apartments spontaneously arose in the Khlebny Dom, which lasted until the 1970s.

In 1926, the palace and park ensemble was transferred to the jurisdiction of Glavnauka. The very next year, a museum was opened in the premises of the Third Cavalry Corps, which lasted until 1935, after which a village club with a cinema was set up in the building.

In 1936, on the instructions of the Moscow City Council, a project was developed to adapt the Tsaritsyno ensemble into a rest home. The Great Patriotic War prevented the implementation of these plans.

In 1939, the temple was closed on the territory of the palace and park ensemble; The building was equipped with a transformer substation.

Church of the Blessed Virgin Mary Life-Giving Spring.

Since 1927 and in subsequent decades, individual decorative architectural structures have periodically undergone repair and restoration work, but the most ambitious restoration work historical complex occurred at the end of the 20th century. Since the mid-1980s, scientific restoration of the Tsaritsyno objects has been carried out, and almost all of them had been restored by 2004. In the same year, the museum-reserve was transferred to the city, and in September 2005, large-scale work was launched in Tsaritsyno to restore the Grand Palace and reconstruct the palace ensemble and park. On September 2, 2007, on the Day of the City of Moscow, the official opening of the Tsaritsyno palace and park complex took place. Today, undoubtedly, it is the most beautiful and interesting place became one of the main attractions of Moscow, and Russia. And, so that skeptics do not say, about whether it was necessary to restore this building unclaimed by Russian emperors or not, we can be proud that Tsaritsyno has not disappeared, like many other historical monuments of Russia and its current appearance. If possible, I will gladly come back here again and again.

Below pictures interior design palace. Text and photos are taken from the sites - http://www.tsaritsyno-museum.ru/ and http://www.angelfire.com/pa/ImperialRussian/news/tsaritsyno.html

M. F. Kazakov designed about 120 rooms on three floors of the Grand Palace. But the architect's plans for their decoration remain unknown. During the reconstruction of the palace in 2005-2007, its most important premises received an ensemble decoration based on the architectural styles of the late 18th and early 20th centuries.

Main staircase. Kazakov completed the main staircase in the center of the building on the second floor, where the apartments of Catherine the Second and the imperial family were supposed to be located. He planned the entrance to the third floor through the stairs in the towers on the sides of the central part of the palace of the main (northern) facade.

Catherine's Hall. On the second floor of the Grand Palace, on the sides of the main staircase, Kazakov placed two reception halls of the same size, galleries. The western hall preceded Catherine II's own apartments. During the reconstruction, an exit was made from it to the balcony of a huge double-height room. On the top of the wall above the balcony, in golden letters, is the eternally relevant statement of Catherine II: “Power without the trust of the people means nothing.” This newly formed hall with an entrance on the first floor became the main ceremonial hall of the reconstructed Grand Palace and was named "Ekaterininsky".

An important decoration of the "Catherine's Hall" is the statue of Empress Catherine the Second by the outstanding Russian sculptor A. M. Opekushin (1838-1923). This work of Carrara marble (260 cm high and weighing more than 3 tons) was created by the master in 1889 for a competition for a monument to the Empress from the "grateful Armenians" of the city of Rostov-on-Don. The Rostov authorities then preferred a different project, and in 1896 Opekushin's statue adorned the meeting room of the Moscow City Duma. After the October Revolution, she traveled to different repositories and literally survived by a miracle. In the 1930s, they wanted to use it to make marble busts of Karl Marx, V.I. Lenin and I.V. Stalin. Since 1952, the statue has been kept in Yerevan in the State art gallery Armenia. In 2003, the government of Moscow and the Republic of Armenia agreed to return the sculpture to Moscow. In 2006, it was decided to install it in the newly created "Catherine's Hall" of the Grand Palace.

Tauride Hall. In front of the apartments of Tsarevich Pavel Petrovich in the eastern (facing the Bread House) wing of the Grand Palace, there should be a reception hall, equal in size to the hall in front of the apartments of Catherine II in the western part of the building. After the reconstruction of the palace in 2005-2007, this hall retained its dimensions and location. It is named "Tauride" in honor of the glorious achievements of Russia in the second half of the 18th century, among which is the conquest of the Tauride Peninsula of Crimea (Taurida) with the decisive role of Prince G. A. Potemkin.

The overall decoration of the "Tauride Hall" is intended to recall the glorious creators of Russian history and culture during the reign of Catherine II. Its main theme is the pictorial ceiling "The Triumph of Catherine II" by Igor Lozinsky (with the participation of Viktor Mironov). This theme is supported by the painting by Vasily Nesterenko, dedicated to the famous holiday of the foundation in 1787 of the Russian fleet in Sevastopol. V. Nesterenko also painted portraits of prominent figures of Russia in the second half of the 18th century - G. A. Potemkin-Tavrichesky, P. A. Rumyantsev-Zadunaisky, A. V. Suvorov, N. I. Panin, G. G. Orlov, A. G. Orlov-Chesmensky, F. F. Ushakov, I. I. Betsky. The gallery of sculptural portraits - Emperor Paul the First, Alexander the First and Nicholas the First, Grand Duke Konstantin Pavlovich, as well as M. V. Lomonosov, Princess E. R. Dashkova, N. M. Karamzin, G. R. Derzhavin - was created by a creative team under by the famous Moscow sculptor Alexander Burganov.

On the third floor of the central part of the Grand Palace, along its entire length, Kazakov initially designed a huge double-height hall-gallery. It was intended for magnificent royal ceremonies, receptions and balls with the participation of court nobles and invited nobility. At the beginning of 1793 (in the eighth year of construction), Catherine II ordered the palace to be reduced by one floor. Kazakov was forced to abandon the second tier of windows in this main hall. As a result, it became disproportionately low and therefore less representative. Newly built in 2005-2007 main staircase The palace divided the initially single space of the third floor into two equal rooms. Both new halls were decorated in the "Neo-Gothic style" of the 19th - early 20th century. They are named "Bazhenovskiy" and "Kazakovskiy" in honor of the creators of the Tsaritsyno ensemble - architects V.I. Bazhenov and M.F. Kazakov. They host exhibitions, concert and theatrical performances, scientific conferences and other public events.

The Tsaritsyno Grand Palace is one of the main parts of the ensemble, created in the 18th century. Unfortunately, this building was never used for its intended purpose, but its architectural merits are undeniable, which makes it possible to include the building in the list of the most significant monuments era, especially since it was made in two different styles. Construction was carried out for quite a long time: from 1785 to 1796.

History of creation

The original design of the building belonged to V. Bazhenov, but the empress, who examined the building, was not satisfied, and therefore the author was removed from the leadership. Instead of him, his friend and assistant M. Kazakov was appointed, who completed the construction. The Tsaritsyno Grand Palace was designed in the style of pseudo-Gothic, but with clear features of classicism, which by the end of the century gained popularity and eventually became the standard for buildings.

The original version of the building involved the construction of a small structure, but the new author, following the tastes of Catherine II, changed the proportions. The structure has become more voluminous, but most importantly, it has acquired some heaviness in the design.

In 1790, construction was suspended due to financial difficulties due to the Russian-Turkish war. Three years later, the process resumed. However, now the Tsaritsyno Grand Palace has undergone new changes: its proportions have been reduced, which, in principle, violated the architect's intention. But soon the empress died, and the new ruler Paul I ordered the work to be completed. Thus, the building was never used for its intended purpose.

Architecture

The construction is interesting because it combines different styles - pseudo-Gothic and classicism. From this point of view, the building can be conditionally called belonging to a transitional period in the history of architectural construction.

The Tsaritsyno Grand Palace consists of two wings, inside of which there are two chambers: for the Empress and her son. The middle part from the outside looks especially majestic and monumental, but the plan shows that this part, in fact, is a narrow passage between the two main chambers. Two towers made in the style of pseudo-Gothic give special elegance to the structure. The last direction also includes, although the shape of the windows is actually rectangular.

Additional elements

Matvey Kazakov gave the building rigor and harmony of forms. The building has three facades, semi-columns and columns that adorn the main entrance. Some parts give the building heaviness: powerful buildings, arcades, arches. In general, the appearance is intended to demonstrate the imperial power of power, while the original project assumed greater intimacy and compactness of forms.

It should also be mentioned that initially Matvey Kazakov planned to build three floors in the palace plus a separate basement, but a few years later, at the request of the Empress, he was forced to reduce its height by one floor. As a result, the structure became squat and somewhat vague in appearance.

The reaction of contemporaries

So, the author of the Grand Tsaritsyno Palace during the construction was forced to make many changes, which led to a lack of unity and integrity in appearance building. In 1796, a black roof was installed over it, which caused criticism from the then Russian society. Many artists noted that it makes a rather gloomy impression, despite the presence of decorations in the building.

In the second half of the 19th century, many began to note the undoubted architectural merits of the building: they said that its appearance was distinguished by festivity, and therefore many suggested removing the black roof.

Reconstruction

One of the largest palace and park ensembles capital is a complex in Tsaritsyno. The Grand Palace, the description of which is the subject of this review, was rebuilt and reconstructed in 2005-2006, which caused criticism from many experts. First of all, the builders replaced the black roof with a more beautiful and elegant roof with decorations, which, in fact, became a violation of the architect's intent. Secondly, they finished the interior, which in the original version was never completed. But the floors were covered with expensive material from valuable tree species. In addition, two halls are arranged in the palace - "Catherine" and "Tauride", in which exhibitions are held. Interior spaces decorated with sculptures and hung crystal chandeliers. In addition, there is a famous monument to the Empress by A. Opekushin.

So, at present, the building houses a whole museum complex, which is dedicated to the reign of Catherine II. Despite the fact that the palace was never used for its intended purpose, nevertheless it occupies an important place in the history of Russian architecture, as it marked the transition from Gothic and traditional to classicism.