The Grand Peterhof Palace, built on the orders of Peter the Great, has undergone numerous significant renovations, complete destruction, and has literally risen from the ashes over its 300-year history. After all the changes, it has become even more attractive. The view of the palace from the Gulf of Finland through the sparkling fountains leaves an unforgettable impression. Inside, it amazes with luxury and elegance, thanks to the work of the best architects from different eras and restorers who restored it after the war.

History

The site for the palace was chosen by Peter himself, as it was located not far from the construction of the Kronshlot fortress (the future Kronstadt) in the Gulf of Finland. The Tsar and his wife often stayed in a small house on the shore of the gulf, and in 1714 he decided to build a country palace that would rival European ones in luxury. The model was the French Versailles. A Lower Park with fountains was created under the palace, while in the Upper Garden, Peter cultivated vegetable gardens and fruit trees.

For two centuries, Peterhof served as the country residence of Russian tsars. In addition to the palace, pavilions and parks were established, but the Grand Peterhof Palace remained the main attraction. It, shining with gold, reminded everyone of the ownership of these lands by Russia. The palace was a place of celebrations and festivities, where balls, masquerades, and receptions for foreign guests were held.

Originally, the palace was called the "Nagornye Palaty" and was built on a hill. Architects Leblon and Miketti created the building in the "Peter's Baroque" style by 1725. In the mid-18th century, Bartolomeo Rastrelli transformed the palace at the request of Empress Elizabeth Petrovna. Among the architects who worked on the palace were Zemtsov, Felten, Vallin-Delamont, and Andrey Shtakenshneider.

The architecture of the palace combines several styles but looks like a harmonious work of art. Despite the abundance of gold and lavish decor, it is elegant and filled with light. The facade of the palace, nearly 300 meters long, faces the sea, from where foreign guests were expected.

The modern appearance of the palace was shaped during the reign of Elizabeth I, who spared no expense on its interiors. A particularly large amount was invested in the Dance Hall designed by Rastrelli. In the second half of the 18th century, Baroque was replaced by Classicism. Under Catherine II, Vallin-Delamont and Felten reconstructed the Throne and Chesme Halls and the Chinese Cabinets.

About 30 halls of the palace impress with an abundance of gold and marble, exquisite gilded carvings, parquet made from rare woods, stucco ceilings, and paintings. Mirrors create the effect of infinite reflection of beauty.

Exquisite and Festive

The palace was meant to impress guests from the very threshold. Rastrelli managed to create a luxurious grand staircase leading to the Dance Hall. The entrance to the main part of the palace was located in its western part, so upon entering, guests were greeted by a suite of grand halls decorated with sculptures, bas-reliefs, and painted walls.

The grand staircase is adorned with carved caryatids and statues symbolizing the seasons. The main design element is the gilded wood carving. Thanks to large windows and mirrors, the staircase appears light and airy.

Passing under the arch with the figures "Fidelity" and "Justice," visitors entered the Dance Hall, which has hardly changed since Rastrelli's time. Its main feature was the false windows that create the illusion of a vast and bright space.

The Blue Reception Room leads to the Chesme Hall, the staircase, and the gallery. This room was used as an office, and its interior, designed by Rastrelli, has survived to this day.

The Chesme Hall is dedicated to Russia's victory in the Battle of Chesma. Its walls are adorned with canvases by Jakob Philipp Hackert. Catherine II commissioned him a series of paintings dedicated to the victories of the Russian fleet. The hall was reconstructed by Felten in the classical style, preserving the mirrors and parquet from Rastrelli.

The Throne Hall, reconstructed by Felten, is dedicated to the Battle of Chesma. It is decorated with paintings by Richard Paton and portraits of crowned persons. The largest painting depicts Catherine II on horseback during the campaign to Peterhof.

In the audience hall, Rastrelli used false windows to enlarge the space. Felten redesigned the white dining room in the classical style. The main exhibit is the Wedgwood service ordered by Catherine II.

The Chinese Cabinets frame the Picture Hall. Vallin-Delamont created the interior from lacquered screens brought from China. In the Picture Hall, created during Peter's time, the original decoration has been preserved. The hall is adorned with paintings by P. Rotari.

The personal rooms of the tsars include the Partridge Lounge with silk fabric and the Divan Room with an oriental sofa. In the Cabinet, Catherine II played cards, and its walls are decorated with portraits of empresses.

The Oak Cabinet, the oldest room in the palace, was decorated during Peter's time. Its walls are lined with oak panels with carvings based on sketches by Nicolas Pineau. The cabinet is dedicated to Peter and glorifies the science, art, and military power of Russia.

The Church and Emblem Corps are located on either side of the palace. The Church Corps was restored by the early 21st century. In the Emblem Corps, the domes end with a weathervane in the shape of an eagle.

In the Special Treasury, personal belongings of Russian tsars are kept, including Catherine II's fan and Alexander II's pen. In a separate hall, works by Fabergé, gifted to Peterhof in 2009, are displayed.

On the Line of Fire

After the war, only charred ruins remained of the palace. The statue of Samson disappeared without a trace. Historians still debate who set fire to the palace: the Russians, the Germans, or if it burned accidentally.

German barracks were located near the famous landmarks of Peterhof. A German mortar battery was situated near the palace. Peterhof was shelled from land and sea, resulting in only the facades remaining of the building.

Restoration After the War

Peterhof suffered more in the war than other royal residences. Only 250 of more than 16,000 lost items were recovered. Restoration took decades and was completed in the early 21st century. The first halls opened in 1964, and the last, the Church Corps, in 2011. The Grand Peterhof Palace has become a monument to the heroic work of restorers.