The Senate and Synod buildings on Senate Square are masterpieces of classical architecture and the last project of the renowned architect Karl Rossi. The complex with its triumphal arch completed the creation of a unified architectural ensemble in the center of St. Petersburg.

History of the Building with the Arch

The Senate and Synod buildings consist of two large separate structures connected by a beautiful arch spanning a narrow street. The site where they were built has been known since the early 18th century. Previously, it housed the second palace of Prince Alexander Menshikov, warehouses of the admiralty, a rope yard, and a sculpture school.

Later, Menshikov's palace passed to Count Andrey Osterman and then to Chancellor Alexei Bestuzhev-Ryumin. In the 1740s, the palace was rebuilt in the fashionable baroque style of the time, and it was during this period that a three-tiered clock tower, ordered from abroad, was erected. After the chancellor's fall from grace, the palace was purchased and handed over to the Senate of Petersburg. In 1780, reconstruction of the building began.

In 1827, Nicholas I decided that a more representative building with a larger area was needed. The Senate was the highest legislative and administrative authority, while the Synod was the supreme body of the Russian Orthodox Church. These were two independent institutions.

A competition was announced among architects, with Paul Jacot and Karl Rossi participating. Rossi's project won. The idea of two long buildings with an arch was proposed by Rossi, while the passage between them was suggested by Nicholas I.

The first stone of the future Senate in Petersburg was laid in 1829. A plaque with the names of the architect and builder was embedded in the foundation. The former chancellor's palace was not completely demolished; part of the walls was used for the new construction. Neighboring houses were also purchased to expand the territory. By 1835, all work was completed.

A year earlier, the Senate moved into the building and began its work. At the final stage, a 26-meter-high triumphal arch connecting the two buildings was created. The width of the passage was 20 meters.

Despite the beauty of the buildings, Karl Rossi was dismissed by the emperor. The architect himself submitted a resignation request, which was granted. It was said that the reason was a conflict with Nicholas I, who interfered with the construction. Rossi was not paid for the project and received several reprimands. He had no pension or his own house in Petersburg, and shortly before his death, he asked the emperor for a loan of 4,000 rubles. In 1849, Karl Rossi died. The Senate and Synod buildings became his last creation.

The public had their own opinion of the buildings with the arch. Given the high level of corruption, it was said that officials in Petersburg lived not 'under the arches' but 'under gifts.' Matters in the Senate gathered dust for years, and to solve the problem, it was necessary to find a corrupt official. Bribes were taken by everyone, from minor clerks to high-ranking officials. This was related to the low salaries of officials and a long-standing Russian loyalty to bribery.

Architectural Style

Karl Rossi's work in Petersburg represents the pinnacle of Russian neoclassical urban planning. The facade of the four-story Synod building faces the center and the Neva River. The height of the structure is 17 meters. The ensemble opens a view of the monument 'The Bronze Horseman.'

Granite staircases with ramps formed the entrances to the building. The facades are adorned with 12 allegorical statues representing secular and spiritual authority. Above them are the coats of arms of all the provinces of the Russian Empire. Nicholas I demanded that the figures on the Synod glorify the clergy, while those on the Senate glorified autocracy.

The interiors of the Senate and Synod buildings differed. The Synodal rooms were more modest than the government ones. For example, the Synod's presence hall was smaller than the Senate's meeting hall.

In both halls, an imperial throne upholstered in red velvet was installed, and the walls were decorated with panels of snow-white artificial marble. The ceilings were painted in the grisaille technique. The architects were responsible for the design, construction, and interior decor. Rossi participated in preparing sketches for the church's decoration inside the Synod building.

The triumphal arch is located at the center of the main facade and is modeled after the structure of the General Staff on Palace Square.

There was not enough space for the archive in the Senate building, so it was placed in the Synod's premises. The transition between the buildings was facilitated by two cast-iron staircases. Rossi had already made similar structures in Petersburg. The Senate archive occupied a third of the Synod building. For security, massive wooden doors with square bolts were made.

In the corner of the building, a church was constructed. The corner of the house is rounded, creating a beautiful view of the ensemble from the Neva and the embankment. Rossi masked the different lengths of the Senate and Synod buildings.

The buildings had different churches. Next to the Synodal church were apartments for the patriarch. The Senate temple was decorated by artists under the guidance of academician Shiryayev. In the Senate church, a large light dome was created based on Rossi's idea.

In addition to large windows, there were smaller ones above them, which contributed to greater illumination of the hall. The architect used false windows for decoration and to harmonize the space.

Decoration of the Arch

To create the sculptural decoration, Rossi invited renowned sculptors: Vasily Demut-Malinovsky, Stepan Pimenov, Pyotr Svintsov, and others.

Above the arch, a sculpture 'Piety and Justice' was installed, symbolizing the unity of spiritual and secular authority. Nicholas I insisted on the composition with seated women. Between the ladies is the heraldic shield of the Russian Empire. One woman points to a book of laws, embodying justice, while the other, with a face under a veil, represents piety. Nearby is a lamp with an open flame.

The sculptural composition on the attic is cast from copper at the Berd factory. It consists of three multi-figure bas-reliefs. In the center is civil law: a woman on a throne next to the busts of Peter I and Catherine II. Nearby are allegorical figures symbolizing Justice, Navigation, Wealth, Peace, Victory, History, and other images. In the left part of the attic is the bas-relief of divine law: a woman representing Russia sits on a throne with a cross in her hand.

Nearby are allegorical figures of Reason and Faith, Hope and Love. In the right part is the bas-relief of natural law. It depicts a woman representing justice handing a scepter of supreme power.

In the center of the Senate bas-relief is a truncated column with an open book under an imperial crown, topped with a laurel wreath and a figure of Glory. The crowned column is called the pillar of law. In the niches are statues of Faith, Law, and Justice. The figure of Law with a crown on her head stands before a throne guarded by lionesses.

The statue of Piety, a winged lady with a censer. Above the arch are figures of geniuses. Directly above the arch are the geniuses of Glory. The building is adorned with lion masks, capitals, and other decorative details.

Soviet History

After 1917, the Senate building was transferred to the Russian State Historical Archive. During the Soviet era, the facades and sculptural groups underwent restoration.

The building had to be saved again after the war due to damage from shelling. The Synodal church was damaged. A second restoration took place in the early 1950s. Restorers restored the facade, staircase, and Senate meeting hall.

Today, the building houses the Constitutional Court of the Russian Federation and the B.N. Yeltsin Library. Once a year, the highest church leadership gathers for meetings in the Synod building.