Story. Palace of Peter I in the Summer Garden opened after restoration History of the creation of the palace
K. P. Beggrov. View of the palace of Peter I in the Summer Garden. Lithograph based on a drawing by V. S. Sadovnikov. 1830
About Peter's residence in the Summer Garden of St. Petersburg.
It seems that a rare researcher involved in the "Summer House" - that was the name of the palace of Peter I at the beginning of the 18th century - did not complain about the lack of sources related to this building by the architect D. Trezzini. “About the construction [of the Summer Palace] no correct information has been preserved,” wrote the writer A. P. Bashutsky in 1839. “The history of the Summer Palace has not yet been clarified,” summed up at the beginning of the 20th century art critic I. E. Grabar. “The early history of the royal summer residence is full of legends,” archaeologist V. A. Korentsvit echoes them. Pushed into the corner of the Summer Garden is a small two-storey house The tsar's palace was least of all like the residence of an all-powerful monarch. “Peter I laid it down more for his own entertainment than to build imperial palace", - noted in 1735 the Swedish scientist K. R. Berk. The Prussian official J. G. Fokkerodt, who apparently visited the palace during Peter's lifetime, even calls the Trezenian creation "a miserable house, in no way commensurate with everything else." According to him, summer palace was "so cramped that a wealthy nobleman would probably not want to fit in it." Fokkerodt considered the reason for this to be the bad taste of the Russian monarch, who loved small, low chambers. “The drawing presented by one Dutch architect, with cramped rooms and successfully gaining free space,” writes an official about some Peter the Great building, “permanently retained Peter’s advantage over the plan that one Italian or French architect drew with great taste.” Sometimes the opinion is expressed that the tsar, who built himself such an outwardly inconspicuous palace, wanted to live in it as a private person, while the palace of Prince A. D. Menshikov had “representative functions”. This is hardly true. Sources say: summer residence Peter I was visited by foreign ambassadors, prominent dignitaries, and architects. For example, in October 1722, “in the Summer House of His Imperial Majesty<…> there was a consultation” on stone construction in St. Petersburg, where, in addition to the tsar, the head of the office of city affairs U. A. Sinyavin and architects D. Trezzini and Stefan van Zwieten were present. Amusements also took place here: the Scot P. G.Bruce, who served under Peter I, reports that he often gave balls and arranged receptions in his Summer Palace, “and not at Prince Menshikov’s, as before.” Audiences of ambassadors also took place in the Summer Palace, which is mentioned by one of the participants in the Polish embassy who visited St. Petersburg in 1720. The testimony of an unknown author, who appears in the literature as an “eye-witness Pole”, is extremely valuable, since it is the only description of the inner chambers of the Summer Palace of the era of Peter I. The Tsar led the ambassador to the palace, “very beautifully decorated with various Chinese upholstery.” In three rooms, the Pole saw velvet beds with a wide braid, a lot of mirrors and decorations. The floor is marble. The kitchen is “like rooms in other palaces.” In the kitchen there are pumps for water supply, cabinets for silver and pewter utensils. Getting acquainted with the "equipment" of the royal kitchen, you involuntarily come to the conclusion: it was with the construction of the Summer Palace that Peter finally got a well-established life. In any case, now the words of the Danish envoy J. Yul, who wrote the following about the first Winter Palace in 1709, are now an anachronism: “The king ate at his house. It is curious that his cook ran around the city from house to house, borrowing dishes from someone, tablecloths from someone, plates from someone, food supplies from someone, because the king did not bring anything with him. The following fact is also noteworthy: although Peter had already lived in his new residence for several years, it was still not finished - obviously, the constant absence from the capital due to the wars prevented Peter from controlling the process of finishing the palace. At the same time, the monarch could not fail to notice how quickly the palace of A. D. Menshikov was being rebuilt and modified, which caused the highest discontent. The Austrian resident in Russia, O. Pleyer, reports on the scolding that Peter I arranged for the Most Serene Prince on the name day of the latter, November 23, 1714. Having reproached the favorite for numerous wastes, the tsar in anger threw to him: “You, prince, always build well: at the end of summer you ordered half of your house to be demolished, and by winter it has already been rebuilt again, and not like the old one, but better and taller. You also started a guest house at the end of the summer, which is larger than mine, and yours is more than half finished, but mine is not.” Researchers often agree that the palace of Peter I in the Summer Garden is an imitation of country Dutch villas. Indeed, in the explication to the plan of the 1740s from the collection of Trinity College in Dublin (Ireland), this palace is designated as “the Dutch estate in which Tsar Peter I lived with his whole family.” By the way, a statement on this score by the owner of the “Dutch estate”, heard by an eyewitness, has been preserved. Apparently, Peter did not consider the Trezzinian chambers as final version, but he thought in the future - probably after the end of the war with Sweden - to build a residence in the garden more appropriate to his rank: “Let's live for a while, as good Dutch citizens live,” he said to Catherine, “but as soon as I manage my affairs, I will build you a palace, and then we will live as it is proper for sovereigns to live. According to the Travel Journals of Peter I, the royal family moved from the Winter Palace to the Summer Palace in April or May (apparently, depending on the weather). For example, in 1715 the move took place on April 16, and in 1720 on May 21. They returned to the "winter apartments" with the first cold weather, which came in October. Following the family, the "Cabinet-Chancery" headed by A. V. Makarov moved, apparently occupying the first floor of the People's Chambers adjacent to the palace (in the inventory of this building on the first floor, under No.
Summer Palace, one of oldest buildings Petersburg, was built on a small plot of land between the Neva and the Fontanka, on the site of the former estate of a Swedish subject, Major Konnau. The author of the palace project was Domenico Trezzini, Zakharov, Matveev, Schluter took part in the design. The two-story palace is modest and consists of only 14 rooms and 2 kitchens. The palace became the summer residence of the emperor: Peter I rested here every summer from 1714 until his death in 1725.
Since the building was only used for summer time, then there was no serious heating in it. Thin walls of the house, ordinary frames in the windows, and next to them - two big rivers. All this in the difficult northern climate of St. Petersburg created additional difficulties for the preservation of a monument of history and culture. As a result, by the time the restoration began, the Summer Palace, according to experts, was already in a catastrophic state. But, although the total amount for the restoration of a unique building during the work was reduced by almost four times (according to the chief architect of the State Russian Museum Irina Teterina, 220 million rubles remained from 891 million rubles), this did not affect the quality of the restoration and it was completed within the stipulated time.
Palace of Peter I in the Summer Garden. Photo: Natalia Shkurenok
Of particular concern were museum objects, the high-quality restoration of which had not been carried out since the 18th century. Due to limited funds, the restorers (the work was carried out by specialists from the Russian Museum, whose complex has included the Summer Palace since 2004), part of the exhibits was completely restored, including oak panels with a Minerva bas-relief, a wind instrument with a weather vane on the roof and a number of pieces of furniture , including the kitchen table and 3 cupboards, and part of it was carefully cleared of traces of earlier restorations and repairs and conserved - these are 11 picturesque ceiling lamps, 7 of which were approximately 2x4 m in size, 4 wall picturesque medallions, wooden panels and picturesque panels of the Green Cabinet .
Complete replacement of communications and waterproofing of the foundation were carried out. Unfortunately, we had to completely replace the old, historical frames in the windows: both because they fell into complete disrepair, and for the reason that the building needs enhanced protection measures from the external environment, and for security reasons.
Palace of Peter I in the Summer Garden. Photo: Natalia Shkurenok
The restoration of the Summer Palace of Peter I was the second phase of the project to restore the entire Summer Garden, which began in 2009. In 2012, after the completion of the restoration and reconstruction of the Summer Garden, a competition was announced for project documentation for the restoration of the Summer Palace. According to preliminary plans, it was supposed to be completed by 2015, but due to funding problems and organizational difficulties, work began only at the end of 2014, the deadlines were postponed several times. And only by the end of May 2018, the work was finally completed. Tours will soon resume at the Summer Palace of Peter the Great.
The Summer Palace of Peter I is one of the most interesting sights of Northern Palmyra, which has more than 300 years of history. At the time of the founding of the city, this was the name of a small wooden house in which the emperor lived. In the future, this name also passed to the building located between the Fontanka and Moika rivers on Admiralteysky Island. The Summer Palace is the pioneer of stone buildings in the city. Famous European architects D. Trezzini and German sculptor Andreas Schlüter participated in its creation.
The tsar ordered the building to be built in such a way that it would clearly symbolize Russia's readiness for effective cooperation both with the East and with Western countries. To implement this kind of idea, six windows of the house overlooked the West, and six others - to the East, showing Russia's respect for the interests of countries in both parts of the world.
The building of the Summer Palace is not distinguished by defiant luxury - it is strict, with a hipped roof, built in the exact proportions of the Baroque style. It symbolizes the possibility of rest and work, rather than the setting for luxurious balls and social receptions. By the way, it was in the Summer Palace that the first sewage system in the city was launched, whose driving system was the Fontanka River.
The exterior of the palace
The friezes of the facades that outwardly delimit the floors are beautifully decorated with bas-reliefs telling about Russia's successes in the military field. In the image of the ancient Greek hero Perseus, we can recognize Peter I himself. The bas-relief above the main entrance from the side of the garden depicts the Greek goddess of wisdom, the patroness of sciences and crafts, Athena ( Rome.- Minerva) surrounded by all sorts of banners and trophies.
interior
The interior is such that there are seven rooms on each floor. On the first floor there were the king's chambers, a reception room, his study, a batman's room, an assembly room (a large room, a second reception room), a dressing room, a kitchen and a kitchen. As you know, Peter owned 14 crafts and liked to work in a lathe, which was also equipped in the palace on the ground floor. On the second floor there were chambers for the wife and children of the emperor, a dining room, a dressing room. Of great interest is the Green Room, which has retained its appearance to this day. It is decorated with gilded pilasters, wooden carvings and other unique bas-reliefs and sculptures.
After the death of the emperor, the Supreme Privy Council of Catherine I began to sit in the palace, which discussed all the decrees. After the short years of her reign, the building was abandoned and did not participate in the restructuring of the city. Perhaps that is why we can now admire the true interiors of the 18th century. In 1934, a historical and art museum was opened in the building. After the Great Patriotic War The bombed-out building was rebuilt. Now the emperor's residence, together with the Summer Garden, is part of the exposition of the Russian Museum.
St. Petersburg is rich in sights. The Summer Palace is located in the heart of the city. Therefore, you can visit the Russian Museum, located nearby, take a walk along the Field of Mars, Mikhailovsky and Summer Gardens, or just stand on Palace embankment. Especially in summer, during the white nights, it is never boring here.
How to get there:
The nearest metro stations are Nevsky Prospekt, Gostiny Dvor and Chernyshevskaya. The nearest stop to the attraction land transport- "Summer Garden" on the Lebyazha Kanavka embankment. You can get to it by buses 46 and 49, by tram number 3 and fixed-route taxi №76.
Summer Palace of Peter I in St. Petersburg. Historical building in the style of Peter the Great Baroque, the former imperial residence, built according to the project of D. A. Trezzini in 1710-1714. Currently, the building is part of the Russian Museum.
The Summer Palace of Peter I is one of the oldest buildings in St. Petersburg; it was built in 1714 and has been preserved in its original form to this day. The two-story palace was intended only for summer residence, therefore it had thin walls and single window frames. The emperor first settled in the unfinished palace as early as 1712 and spent the rest of the summer there. It was the Summer Palace that gave its name to the Summer Garden.
The facade of the palace is decorated with bas-reliefs from the events of the Northern War by A. Schluter, where Peter I himself is depicted as Perseus, and the hipped roof is decorated with corner drains in the form of winged dragons. The roof itself was crowned with a weather vane, indicating the direction and strength of the wind. The general view of the baroque palace is outwardly modest, the building has even proportions and an abundance of windows on all sides of the building. It is interesting that the building is strictly oriented to the west and east, this was the embodiment of the emperor's idea that Russia is equally aimed at both of these cardinal points.
The Summer Palace is quite small - it consists of only 14 rooms (7 per floor). inconspicuousness external forms offset by the richness of the interior decoration. The interiors were painted by Russian artists A. Zakharov, I. Zavarzin and F. Matveev. Among the most noticeable decorations inside the palace are an oak panel in the lower vestibule, unique Dutch tiles, fireplaces with stucco bas-reliefs, and picturesque plafonds. In the decoration, the themes of the glorification of the Russian military glory, many sculptural and artistic elements of decor are dedicated to this.
On the first floor were the rooms of Peter I, on the second - his wife and children. The palace also included reception rooms (“assembly rooms”), an office, a throne room, and even the king’s personal punishment cell. One of the rooms of the palace was occupied by a mechanical turning workshop, where the emperor liked not only to work personally, but also to receive reports from the nobles.
In the time of Peter the Great, there was a small harbor near the palace - Gavanets, which was later filled up after the flood. She allowed to swim up to the entrance to the palace directly on the boat. The water surrounding the palace was also used for sewerage.
After the death of Peter I, the palace was used for a long time as a summer residence for dignitaries and courtiers, the Supreme Privy Council met here, but the reigning persons themselves no longer lived in the palace. It is to this that the palace owes its safety - Elizabeth built herself a new summer residence, and no one began to rebuild the Peter's Palace.
In 1925, the palace came under the jurisdiction of the Russian Museum, and since 1934 it has become a full-fledged museum exposition dedicated to Peter I.
The Summer Palace of Peter I is included in the Unified State Register of Objects cultural heritage(monuments of history and culture) of Russia.
Note to tourists:
A visit to the Summer Palace of Peter I will be of interest to tourists interested in the architecture of the early 18th century, to everyone who wants to see the expositions located on the territory, and can also become one of the points of the excursion program while exploring neighboring attractions -
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Address: Summer Garden
Architects, years of construction: Domenico Trezzini, 1710-1714
Until 1703, here, near the Neva and Fontanka, there was the estate of a Swedish officer Conau. Immediately after the founding of St. Petersburg, the summer residence of Peter I, which began to be called the Summer Garden, was located on this site. According to the historian K. V. Malinovsky, the Konau house was moved closer to the Neva for its reorganization into the summer residence of the king.
Since autumn 1706
in spring 1707
year this was done by the draftsman of the artillery order Ivan Matveyevich Ugryumov. The death of Ugryumov in 1707 slowed down the work, which is confirmed by the report Kikina Peter I in February 1708
of the year: “Mansions are now being made in your Majesty’s house, which were ordered to be moved, and in the coming month they will be ready«.
On March 12, Kikin again wrote to the tsar: “In your house there are mansions that have been moved a week, although not all, but the kitchen and others will be ready”
Near the Summer House of Peter I, by that time, a small Havanese had already been dug.
Havanese Peter I was called a bucket-shaped harbor at the cape (arrow) formed by the Neva and the Fontanka, so that the narrow part of the harbor flowed into the Fontanka. It was built by craftsman Ivan Matveev at the beginning of the work on laying out the Summer Garden around 1704 and was used to approach the garden on small boats. It is known that in 1705, Peter I ordered to deepen the harbor everywhere by 8 feet and lay stone slabs over its walls. According to a number of researchers, this was the first stone paving of the St. Petersburg embankment. It was Ugryumov who was instructed to deepen it. Thus, the water surrounded the building from three sides and approached the porch itself.
Havanese was lined with limestone blocks, which quickly dilapidated and fell into disrepair. If this building was filled up in 1777, then the Neva embankment built simultaneously with the harbor at Winter Palace over time, it was reconstructed, replacing limestone with more resistant granite.
In January 1711 Peter I ordered to move the wooden building to another place "near the Kalinkin bridge". On the vacated site in May, they began to build the foundation for the stone Summer Palace of Peter I. This house was built in the Dutch style, as Peter I liked. The tsar personally drafted the building, after which it was corrected by the architect Domenico Trezzini. It became one of the first stone residential buildings in St. Petersburg, along with the Menshikov Palace, Golovkin's house. The construction of the Summer Palace of Peter the Great took four years.
Peter I lived in this house only from May to October. Because the palace is called the Summer Palace, it has rather thin walls. The palace is small and simple in layout: its dimensions are 25x15.9 m, the height to the roof is 8.1 m. There are only 14 rooms in the palace, two kitchens, two internal corridors, the height of the rooms is 3.3 m. The layout of both floors is the same. The furniture decoration of the Summer Palace was almost not preserved.
Peter's quarters were on the first floor of the Summer Palace, and his wife Catherine and children were on the second floor. On the first floor was reception room king. Here he received written requests and oral complaints. Next to the reception was equipped punishment cell, where Peter personally stuffed the guilty and then he himself released them. From the first reception room it was possible to get into a large room - the second reception room " Assembly". It is decorated with a plafond "The Triumph of Russia" (G. Gsell, 1719). Between the windows stands the "Admiralty Chair" of Peter I, which previously stood in the Admiralty College. On the walls are portraits of Peter and his associates - B.P. Sheremetev, F.M. Apraksin, A.D. Menshikov and others. Behind the Second Reception Room is a narrow room where Peter's clothes were located.
Further - cabinet. The interior of the office is decorated with: a tiled panel depicting genre scenes, landscapes, ships, a tiled stove. Painted ceiling work of the early 18th century. allegorically depicts the victory of Russia over Sweden in the Great Northern War. The room contains several items of Peter the Great: a ship's clock with a compass, an oak cabinet with carvings, a model of a galley, and an office chair. Peter apparently spent little time in his office. Peter got up at five o'clock in the morning, then the secretary read the cases to him. After breakfast, at six o'clock, Peter went to construction work, to the Senate or the Admiralty. After dinner, at four o'clock, he worked, read the Dutch newspapers, and spent a lot of time in the turning shop. In the evening, Peter rested - he went to assemblies or had fun at home.
Room adjacent to office bedroom. The plafond depicts the god of sleep Morpheus with poppy heads in his hands and sleeping cupids. The bedroom has a canopy bed restored in 1953. In a large fireplace (partially remade in the 19th century), according to legend, the jester Balakirev was hiding.
Next, corner room - Turning (Coffee). The lathe served as a mechanical workshop. Peter knew 14 crafts and this was his favorite room. Here he not only enthusiastically worked on the machines, but also received dignitaries, decided state affairs. Entrance to Turner was strictly limited. In the modern museum, this room presents machine tools, products carved by Peter from wood and bone, clothes of Peter I.
TO Turning adjoins dining room. The plafond in this room glorifies the activities of Peter: in front of his portrait is a kneeling woman, symbolizing Russia.
At the back of the room is a window cookery(kitchen) through which food was served. The kitchen has retained the appearance of the early 18th century. The walls of the room are lined with tiles, a canopy is arranged over the hearth, and dishes were washed in a marble sink. Water was supplied by pumps.
On the second floor was reception room Empress Catherine, the throne room and the kitchen with a stove, in which Catherine I baked pies for her husband. Here it is of particular interest Green cabinet retaining its original appearance. The cabinet is decorated with gilded pilasters, wood carvings, oval medallions with images of the four parts of the world. In the corner there is a fireplace with sculptural images of cupids. In the niches of the walls there are three cupboards glazed with small glasses. Here are exhibits from the collection of the Kunstkamera.
First sewerage system in St. Petersburg appeared in the Summer Palace. Water was supplied to the house by pumps, went to the Fontanka. The work of the flowing sewage was facilitated by the fact that the building was washed by water from three sides, the Fontanka current was the driving force. After the flood of 1777, Havanets was covered with water, and the sewerage system ceased to function.
There were no utility rooms, except for cooks, in the Summer Palace. For them, another building was built along the Fontanka, known as " People's quarters". It was in these rooms that the famous Amber Cabinet, anatomical collection of Ruysch , library Peter I. A special gallery connected the Summer Palace with the people's quarters.
The Summer Palace served as a place for Peter I to receive visitors with their written requests. It also held state meetings of ministers under the leadership of the emperor. After one of these meetings in the lobby of the Summer Palace, an attempt was made on the life of Peter I by one of the schismatics. After that, his co-religionists were ordered to wear a piece of red and yellow cloth on their clothes in order to distinguish them from other people.
The facade of the building is decorated 28 bas-reliefs the work of the architect Andreas Schlüter, which depicts the events of the Great Northern War.
Andreas Schlüter arrived in Russia in 1713 and lived in the Summer Palace even before its construction was completed.
Above the door is the figure of Minerva (the goddess of wisdom) surrounded by victorious banners and war trophies.
The bas-reliefs are devoted mainly to mythological subjects and in allegorical form reflect the events of the reign of Peter I, glorify the victory of Russia in the Northern War and the return of the northern seas to Russia. In most of the bas-reliefs, the background is the sea with images of Peter's galleys. Many mythological stories were associated with specific historical events by Peter's contemporary.
South facade:
The bas-relief on the far left depicts the abduction by the god of the underworld Pluto of Proserpina, the goddess of fertility (1st). The horses carry the chariot with the heroes of the plot to Taratar. The floating cupid symbolizes Pluto's love for the goddess. Bas-relief (2nd): Atalanta and Hippomenes. Atalanta promised to become the wife of the one who beat her on the run, Hippomenes threw golden apples three times on the run, and Atalanta stopped three times to pick them up. Bas-relief (3rd): Battle of Perseus with Medusa. The hero has already raised his sword over the defeated monster. The goddess Athena comes to the rescue. Bas-relief (4th): Jupiter. The king of the gods Jupiter with an eagle and thunderous arrows, at his feet a goddess in a crown. To the right of the main entrance Bas-relief (5th): Poseidon and Aphrodite. On a chariot-shell, harnessed to a trio of sea horses, the god of the seas Poseidon and his wife Aphrodite. Bas-relief (6th): Diana. Goddess of hunting Diana with dogs on the seashore. Bas-relief on the far right (7th): Venus and Adonis. Venus restrains her beloved Adonis, who goes on a deadly hunt.
East facade:
Bas-relief (1c): A sleeping boy on a dolphin. Bas-relief (2c): A boy (Cupid?), clutching the beard of a sea ibex with both hands, rushes along the waves. Bas-relief (3c): A smiling boy (Cupid?) on a dolphin is rushing across the sea. Bas-relief (4c): Cupid riding a seahorse. Bas-relief (5c): Europe with bulls. The scene preceding the rape of Europa by Jupiter. Bas-relief (6c): Actaeon and Diana. The young man Actaeon, who is turned into a deer by the goddess Diana, escapes from his dogs.
West facade (facing the garden)
Bas-relief (1h): Diana with nymphs. Aphrodite, the goddess of the hunt, bathes with her nymph friends. Actaeon, who was watching them, is turned into a deer by an angry goddess. Bas-relief (2h): Arion with a lyre floats on the sea on his dolphin savior. Bas-relief (3h): The god Apollo pursues the nymph Daphne, escaping, she turns into a tree. In the background are the sailing galleys of Peter the Great. Bas-relief (4h): The goddess Venus, born from sea foam, surrounded by her retinue - tritons and nereids. Bas-relief (5h): The abduction of the princess of Europe by the god Jupiter, who took the form of a bull, cupids personify love. Bas-relief (6h): Perseus and Andromeda. On the winged Pegasus, Perseus hurries to save the chained Andromeda from the dragon. Adromeda in the early 18th century symbolized the Russian land captured by the Swedes, Perseus - Peter the Liberator.
Northern facade (facing the Neva)
Bas-relief (1s): Cupid in a fight with a sea monster. Bas-relief (2c): Cupid playing with a lion. Bas-relief (3s): Cupid with a sword and a helmet walks along the waves with a sea elephant. Bas-relief (4c): God of nature Pan at the bush of reeds, into which the nymph pursued by him has turned, two cupids laugh at Pan. Bas-relief (5s): Jupiter unleashes bolts of lightning on sea monsters. Bas-relief (6c): Latona and the Lycian peasants. The peasants, who did not give Latone, Apollo and Diana a drink of water, were turned into frogs. Bas-relief (7c): Venus, born from the foam of the sea, floats on the sea, accompanied by Cupid. Bas-relief (8c) The goddess Athena descends to the sea on a cloud, where she is met by a siren. Bas-relief (9c): Nereid (sea deity) on a sea horse.
It is difficult to reveal with all certainty the allegorical meaning of each of the bas-reliefs, but to one degree or another, all the bas-reliefs symbolize the victory in the Northern War.
On the roof of the Summer Palace 1714
was strengthened vane, showing not only the direction of the wind, but also its strength. The weather vane was mechanically connected to a device that showed these parameters on a kind of scoreboard inside the building. This device was ordered by Peter I in Dresden from the court mechanic. The weather vane was decorated with a gilded figure George the Victorious.
After the death of Peter I, in the short years of the reign of Catherine I, the Summer Palace often met Supreme Privy Council- in fact, the highest authority in the country, since the decree on the establishment of this body read: “No decrees should be issued before they have been discussed in the Privy Council.”
Subsequent information about the Summer Palace is scarce. In the summer of 1728, repairs were carried out in it (apparently, not only cosmetic, because in addition to whitewash and ocher, bricks and tiles were delivered to the palace).
IN 1740s years, after the construction of Rastrelli's Third Summer Palace, the Summer Palace of Peter I was launched, seamstresses and laundresses lived in the palace, serving the royal court. In 1751, an eyewitness wrote, “above the large chambers, in the upper apartments, where seamstresses still live ... the ceilings have collapsed.”
Then the palace began to be adapted to the needs of officials. Corresponding repair work made changes in the appearance historical building. IN 1753 the admiral moved into the chambers of the palace Golitsyn.
IN 1815 odu the war minister prince lived here Gorchakov, next year - Minister of Justice Prince Lobanov-Rostovsky, V 1822 - military general, governor count Miloradovich, after him - the Minister of Finance Kankrin. And much later, at the beginning of the 19th century, the Summer Palace was used as a summer residence of St. Petersburg dignitaries.
The flood of 1824 flooded the Summer Palace up to the middle of the first floor windows. This caused significant damage to the building, which, however, was "repaired in compliance with the previous appearance." This event is reminiscent of an old bronze plaque showing the level of water rise.
TO 1934 The Summer Palace was restored, and a museum dedicated to Peter I was opened in it.
During the Great Patriotic War, an air wave from an explosion tore off several window frames. Museum exhibits by that time they had already been taken out, only a large table from the Green Cabinet and a copper tank from Povarnya remained in place.
During the repair and restoration work 1961-1964 gg. the bas-reliefs on the facades of the palace were restored, the small deglazing of the windows was recreated, the plafonds and other paintings in the rooms of the palace were cleared and restored.
At the beginning of the 21st century, a new restoration of the Summer Palace in the Summer Garden was carried out.
