Winter Palace. Apartments of Nicholas II in the Winter Palace Layout of the Winter Palace
Address: Palace Square, 2
Opening hours: from 10.30 to 18.00
The main palace of the Russian emperors was built from 1754 to 1762 years as a court architect, Italian by birth B.F.Rastrelli. The palace was created in the then widespread style baroque, which was characterized by pomp, grandeur, pronounced contrast and solemnity.
Construction of the palace began at Elizaveta Petrovna, but the empress did not live to see the completion of construction and turned out to be the first mistress of the new Winter Palace Catherine II. She was also the initiator of the creation of an art gallery and collections of other works of art, which over time formed priceless Hermitage treasures. Subsequently, the palace turns into a permanent residence acting emperors up to Nicholas II, although he loved the Tsarskoye Selo Alexander Palace more.
IN difficult years First World War the palace halls were given over to military hospital. In 1917 (from March to October) members met and practically lived in the Winter Palace Provisional Government. From 1920 to 1941 the halls were occupied Museum of the Revolution and the Hermitage.
Today Winter Palace with the treasures of the Hermitage housed in it, it is the most visited tourist place in St. Petersburg. People come here to see the palace itself - the city’s brightest landmark and the works of art located in it.
History of creation
From the time of Peter the Great until the transformation of the palace into a majestic work of architectural art in the mid-18th century, 5 winter palace buildings (together with the latter).
First Winter
The first stone Winter Palace was a palace presented to the first Emperor of Russia Peter on the day of his wedding with Ekaterina Alekseevna by the then governor of the city, friend and ally of Peter - A. Menshikov in 1712. That palace, nicknamed Wedding chambers, stood between the Neva and present-day Millionnaya Street.
Second Winter
Peter, living in the Wedding Chambers, decided to build a new royal palace himself. winter residence, which should have been located on the formed new embankment(now Palace), from where one could clearly see the city buildings, the Peter and Paul Fortress, the Menshikov Palace, and, of course, the banks of the Neva flowing to the sea.
A German architect began building the Winter Palace of Peter the Great at the intersection of the Winter Canal and the Neva. G.Mattarnovi. His design for the palace resembled a solid two-story German building, decorated with pilasters and rustications, with a central risalite part, on the pediment of which a coat of arms with a crown was to be placed.
Palace construction was in full swing when the architect suddenly dies. The construction was continued by the St. Petersburg architect N. Gerbel, who expanded the building, using the already rebuilt room as the western wing. Having made the eastern wing similar to the western one, Gerbel focuses on the central part, decorating it with columns and creating the effect of a triumphal Roman arch.
The Winter Palace of Peter the Great begins a new era in the creation of magnificent, large-scale and solemn palace apartments for which St. Petersburg is so famous today. Although compared to subsequent palaces, Peter's palace decoration was more modest. However, with the creation of the second Winter Palace, urban ensemble development, characteristic of St. Petersburg architecture, begins.
Peter the Great lived with his family in this Winter Palace from 1720. This is where Tsar Peter died in 1725.
Catherine the First, after the death of Peter, work began on expanding the palace (architect D. Trezzini), interior work continued under Peter the Second. But then, already under Anna Ioannovna, royal persons did not live in Peter’s Winter Palace. Elizaveta Petrovna placed the grenadier company of the Preobrazhensky Regiment in it. A by the end of the 18th century Catherine the Second erected the Winter Palace instead of Peter the Great Hermitage Theater(architect G. Quarenghi) for entertainment.
For a long time it was believed that the Palace of Peter the Great disappeared, dismantled for theater construction, but at the end of the 70s of the 20th century, architectural research made it possible to identify several surviving parts of the first floor and basement of the former Peter the Great building, which were located under the stage of the Hermitage Theater. In the preserved premises, called "Small Tents" by Peter, managed to recreate the interiors of the Peter the Great era. The Tsar's office with a tiled Dutch stove is furnished with his personal belongings. It was also possible to restore some of the chambers built under Catherine the First.
Today you can see the exhibitions of the Dining Room, Peter's office where he died, lathe, Front yard. A wax post-mortem is also presented. "person" Peter, created from the deceased emperor himself Rastrelli, who, having taken casts of the face, arms and legs, subsequently made a life-size Wax Person from them. Moreover, the hair for making the wig, mustache, and eyebrows was real - imperial. The “person” is dressed in a European suit from the royal wardrobe.
To get acquainted with the exhibition of this little-known, but very unique Winter Palace of Peter the Great, you need to enter from Palace Embankment, 32 . The museum is open from Tuesday to Sunday from 10.30 to 17.00. Mondays are a day off at the museum.
Third Winter Palace
As already mentioned, the next mistress of the Russian throne Anna Ioannovna Peter's palace seemed a bit small. She instructs the creation of an enlarged palace analogue F. Rastrelli. To implement this task, nearby buildings are purchased and demolished, and in 1732 The construction of the third Winter Palace begins. The new four-story palace is being built in three years and includes seventy halls, one hundred bedrooms, several galleries, rooms for a theater, as well as service rooms.
However, the empress, who moved into the palace, constantly demanded some new extensions, the organization of new premises, etc. Since 1741 the new mistress of the palace is Elizaveta Petrovna- continued the policy of adding new premises, which ultimately led the palace to a state of decentralization, untidiness of architectural forms and lack of a common style.
In 1752 Elizabeth buys the next neighboring plots to expand the palace building. Rastrelli proposed increasing the width of the palace territory through new buildings, but Elizabeth demanded that the building be expanded upward. Debate the architect and the empress led to the decision to demolish the existing palace and build a new one in its place! The construction of the next palace building has begun in 1754.
Fourth Winter
The fourth Winter Palace, as a temporary one (during the creation of the fifth), is being built on Nevsky Prospekt, which is already taking shape, where houses 13 and 15 are located today. After the completion of the construction of the fifth and last version of the Winter Palace in 1761, the fourth, as unnecessary, was dismantled (1762). Elizaveta Petrovna, who so dreamed of a big palace, did not live to see the completion of construction work.
Fifth Winter (last)
So, by imperial order of Elizabeth Petrovna, the architect Rastrelli erects a three-story building - the tallest at that time ( about 24 meters) – architectural structure in St. Petersburg, the area of which was about 60 thousand square meters. The palace, consisting of four buildings, closed in a square shape, forming a courtyard. This palace layout was typical of Western architecture of that time.
The main arched entrance to the palace territory was organized from Palace Embankment. But even though the main facade, more than two kilometers long, overlooked the Neva, this did not mean that more attention was paid to it. The palace was amazing from all sides luxury, splendor, architectural decor with a changing rhythm of columns.
The perimeter of the roof is decorated with vases and sculptures, which gives the building even greater pomp and pomp. The palace building had ocher color with highlighted decorative elements and columns. The palace consisted of more than a thousand rooms, had more than a hundred staircases and about one and a half thousand windows.
The interior structure of the palace was created enfilade, i.e. all rooms were located along the same axis, connected by a through corridor and had a spatial perspective. Northern the enfilade stretches along Nevsky Prospekt, southern– along Palace Square. Three corner wings were occupied by the living quarters of the ruling emperors.
The final interior design of the building has already been completed under Catherine II, which removes Rastrelli from further work and the interiors continue to be decorated Yu. Felten, J. Wallen-Delamotme and A. Rinaldi. Under subsequent emperors, reconstruction work was also carried out, the purpose and interior design of the premises changed.
In 1837 powerful fire, which raged for three days, caused terrible destruction to the palace - a huge part of the interiors was destroyed in the fire - but, nevertheless, the Winter Palace restored in a record period. Moreover, some halls (Field Marshal's, Petrovsky, etc.) were recreated almost in their original form, and some of the rooms (Malachite, Gothic Library, Alexandra Fedorovna's White Living Room, etc.) were created in a new architectural key.
Therefore, we must keep in mind that much in the interiors and the purpose of the premises was changed compared to the original plan, and today we see the halls in their reconstructed and new design, related by the second half of the 19th century.
Main halls of the Winter Palace (briefly)
The main palace halls, including the front halls, occupy second floor Winter Palace.
Jordan staircase
Acquaintance with the halls of the Winter Palace begins with a magnificent main staircase, originally called Posolskaya, and then Jordan. This staircase preserved the Baroque Rastrell style, restored by subsequent architects, who, however, made significant changes to the interior.
What is striking here is the splendor of the white marble staircase with a carved balustrade, the granite columns, and the reflected light of the mirrors, statues of gods and muses, gilded intricate ornament and, of course, incomparable lampshade with images of the gods of Olympus.
The main staircase on the second floor diverges in two enfilade directions - along the northern one - along the Neva, and along the eastern one - deep into the palace. In any case, you will be able to walk around all the rooms of the second floor along the perimeter, thanks to their end-to-end enfilade device.
Nikolaevsky Hall
If you walk along the northern enfilade, then through Nikolaevsky antechamber with a malachite rotunda, you can go to Nikolaevsky Hall, which is considered the largest room in the Winter Palace. It was named so after the portrait of the late Nicholas the First was placed here, and was considered the main palace hall for receptions and balls, where up to 3,000 guests could gather.
The interior of this room was decorated in the post-fire period V. Stasov in a different way than it existed before the fire - the strict monotonous decor is decorated Corinthian columns. From the Nikolaevsky Hall we find ourselves in Concert hall, having examined which, further in the direction of travel we move towards the north-western wing.
Concert hall
Originally intended for concerts, the hall was used several times modified. It is decorated with antique sculptures depicting different kinds arts, among them there are all kinds goddesses and muses. Today the hall displays an exhibition of Russian silver items, as well as a unique Alexander Nevsky shrine, made of silver and transferred here from the Alexander Nevsky Lavra.
During the recovery period after the fire, the north-west wing was decorated for the family Nicholas II, and at the beginning of the 19th century, the chambers of Alexander the First were located here. In 1917, this particular wing occupied Provisional Government, the arrested person is also here.
In this wing, the Arabian and Malachite Halls, the White Dining Room, and the Gothic Library of Nicholas II are available for inspection.
Malachite Hall
This is a well-known and unique hall in a bright green frame. malachite columns and fireplaces. The hall is created by the architect A. Bryullov after a fire in a new interior design. The wall opposite the windows is decorated with decorative paintings with figures of “Day”, “Night” and “Poetry”.
It was in this hall that the Provisional Government, overthrown in October 1917, met. Today here you can see beautiful malachite products made by Russian craftsmen.
White dining room
This dining room was redone in a combination of styles classicism and rococo at the end of the 19th century for the wedding of Nicholas II. The dining room is equipped with elegant furniture.
The bronze mantel clock shows the time of the arrest of the Provisional Government, which was taken under arrest here.
Gothic library
Library premises completed in the spirit of the Middle Ages(arch. A. Krasovsky). Its decoration uses Walnut and embossed gilded leather. Tall windows with openwork frames, high choirs for bookcases with a massive staircase, a monumental fireplace - everything creates an atmosphere of strength and inviolability.
Further through Rotunda We turn into the western gallery, where examples of works related to Russian art of the 18th century are exhibited. We move along the gallery to the southwestern wing of the palace, where the former chambers, belonged to Maria Alexandrovna- to the wife of Alexander II, among which are the Golden Living Room and Blue Bedroom, Crimson Study and Boudoir, White Hall and Green Dining Room.
White living room
This Maria Alexandrovna Hall appeared in the same period as the Malachite Hall, and was designed in the same way A.Bryulov. The White Hall is the most successful work of the architect, who combined three living rooms into a single architectural solution, decorated in the style ancient Roman villas. This style determines both the presence of Corinthian columns and the image of the Olympian gods.
The White Living Room was prepared for the wedding of Alexander the Second and Maria Alexandrovna and, as part of other rooms in this wing, was the apartment of the new imperial family.
During the period the Provisional Government was stationed in the Winter, the soldier garrison guarding it was located in these apartments. The soldiers, without much ceremony, dried their wet laundry on Roman statues.
Golden living room
In this living room we are captivated by the placers gold ornaments on white artificial marble walls. Interior made A.Bryulov for Empress Maria Alexandrovna, later improved A.Stackenschneider. Here you can admire the amazing marble fireplace for a long time. Its jasper columns, picturesque panels and bas-reliefs are harmoniously combined with gilded doors and beautiful parquet floors.
It was in this hall, after the tragic death of his father, that Alexander the Third, together with the State Council, discussed the further paths of development of Russia.
Raspberry cabinet
This is Maria Alexandrovna’s room, we also see it in the converted A.Stackenschneider form. This living room sometimes served as a dining room, and sometimes concert hall. From here a staircase, hidden by drapery, led to the children's rooms.
By the design of the room one can judge the personal preferences of the empress, who was fond of music and painting. The room is decorated with medallions with images of musical notes and musical instruments. We see a unique carved 19th century grand piano. Also presented here are applied arts, porcelain dishes and more.
Further, bypassing October staircase, we pass through the enfilades of the southern side of the palace, along Palace Embankment, in which French art of the 18th century is presented, and we find ourselves in the front Alexander Hall, built by A. Bryullov to perpetuate the memory of Alexander the First.
From the Alexander Hall via Pre-church, you can get into the Great Palace church Savior Not Made by Hands, which after restoration is open to the public. The church premises have preserved the splendor of the Baroque style of F. Rastrelli. IN former church The imperial family today houses objects related to Russian church art.
And through the nearby Picket Hall, where in the 19th century guards officers were on duty and the palace guard was sent out, we go to the Military Gallery and the Armorial Hall.
Armorial Hall
During the restoration of the Winter Palace after the fire, this hall, with an area of about a thousand square meters, was given a different semantic direction than before. In the pre-fire period, in this place of the palace there was White gallery, in the hall of which luxurious palace balls were held.
Architect V. Stasov creates a hall with an interior in a completely different thematic content, in accordance with its new purpose - now ceremonial receptions were planned here, and the decoration of the hall in classic style should have shown Russian power and the vastness of her possessions. That's why sculptures of warriors are installed here. ancient Rus', equipped with provincial coats of arms. The same coats of arms are also present in the design of the chandeliers.
A colonnade with a balustrade balcony surrounding the hall gives it monumentality and solemnity. And the amazing aventurine bowl located in the center evokes admiration for the skill of Russian stone-cutters.
Military gallery
Gallery dedicated to the participants heroic victory over Napoleonic troops (architect K. Rossi)- one of the most famous palace galleries. It was formed in 1826 by combining several not very large palace premises.
The Military Gallery was created to house general's portraits of the Russian-French company 1812-1814. Each portrait was assigned a specific location by a specially created commission, where they were installed as they were painted. Almost all of more than three hundred portraits created J.Doe. Some of them were painted from the original source, some from previously painted portraits. It was not possible to find 13 images of the dead generals, so green silk is simply stretched over their names. A separate wall is occupied by a ceremonial portrait of Emperor Alexander the First.
Next, in a straight line, it is planned to inspect the Petrovsky and Field Marshal halls. These halls, as well as the Armorial Hall in the 30s. 19th century designed by the famous O. Montferrand. However, his work was lost in the infamous fire of 1837. What we see is a talented reconstruction that was carried out V. Stasov, A. Bryulov and E. Staubert.
Petrovsky Hall
From the ashes of 1937 Small throne room, dedicated to Peter the Great, is being restored to Montferrand’s original idea. Triumphal arch framed by columns. Silver and gilded throne. The canvas behind the throne depicting Peter the Great and the goddess Minerva (by J. Amikoni).
On other canvases in the hall there are scenes of famous battles of the Northern War. The interior decor contains the monograms of the first Russian emperor, images of double-headed eagles and the imperial crown.
Field Marshal's Hall
This room got its name from the placement in its niches of portraits of outstanding field marshals Russia. They are looking at us from the walls of this hall Rumyantsev-Zadunaisky, Potemkin-Tavrichesky, Suvorov, Kutuzov and others. The decor of the hall is consistent military theme- these are laurel wreaths of winners and military trophies. Also in the decoration of the hall there are artistic canvases depicting the military victories of the Russian army.
Today, the hall additionally houses paintings by foreign and domestic masters and houses the famous Imperial porcelain.
If we turn right from the Military Gallery, we will find ourselves in the St. George's Hall (Great Throne Hall).
St. George's Hall
As the most majestic and solemn, Great Throne Room appeared towards the end of the 18th century in the best examples of the classical style. Imperial ceremonies and receptions were to be held there. On the day of St. George the Victorious, the hall was consecrated, which is why it began to be called St. George’s. This hall completely burned down in 1837, and the splendor that we see is again a talented reconstruction created by V. Stasov.
St. George the Victorious is present in the decoration of the hall in the form of a bas-relief located above the royal throne, made in London. This throne, by the way, belonging to the first half of the 18th century, was made especially for Anna Ioannovna. The ornamental patterns of the ceiling are similar to those of the parquet floor, made up of wooden fragments of 16 types of wood.
From here, through the Apollo Hall, you can go to the halls of the Small Hermitage, where the art galleries are located.
Apollo Hall
At the end of the 18th century, the Apollo Hall emerged as a connecting link between the halls of the Winter Palace and the pavilions of the Small Hermitage. Chambers of Catherine II occupied the south-eastern wing and were located in front of the Alexander Hall. The southern pavilion of the Small Hermitage occupied Count G. Orlov. Their chambers were connected by a gallery built between the palace and the pavilion.
When Catherine began collecting paintings for which the Northern Pavilion was built, visitors to the Hermitage area walked past the empress’s chambers, which caused her dissatisfaction. Therefore, both the Apollo Hall and the new St. George Throne Hall were built ( Arch. Quarenghi).
Where did the tradition of dividing royal houses into winter and summer come from? The roots of this phenomenon can be found back in the days of the Muscovite kingdom. It was then that the tsars first began to leave the walls of the Kremlin for the summer and go to breathe the air in Izmailovskoye or Kolomenskoye. Peter I carried this tradition into new capital. The Emperor's Winter Palace stood on the site where the modern building is located, and Summer Palace can be found in Summer Garden. It was built under the direction of Trezzini and is essentially a small two-story house with 14 rooms.
From the house to the palace
The history of the creation of the Winter Palace is no secret to anyone: Empress Elizaveta Petrovna, a great lover of luxury, in 1752 ordered the architect Rastrelli to build for herself the most beautiful palace in Russia. But it was not built from scratch: before that, on the territory where the Hermitage Theater is now located, there was a small winter palace of Peter I. The house of the Great was replaced by wooden palace Anna Ioannovna, which was built under the leadership of Trezzini. But the building was not luxurious enough, so the Empress, who returned St. Petersburg to the status of the capital, chose a new architect - Rastrelli. This was Rastrelli Sr., the father of the famous Francesco Bartolomeo. For almost 20 years new palace became the residence of the imperial family. And then the very Winter one that we know today appeared - the fourth in a row.
Source: wikipedia.org
The tallest building in St. Petersburg
When Elizaveta Petrovna wanted to build a new palace, the architect, in order to save money, planned to use the previous building for the base. But the empress demanded that the height of the palace be increased from 14 to 22 two meters. Rastrelli redesigned the building several times, but Elizabeth did not want to move the construction site, so the architect had to simply demolish the old palace and build a new one in its place. Only in 1754 did the empress approve the project.
Interestingly, for a long time the Winter Palace remained the most tall building In Petersburg. In 1762, a decree was even issued prohibiting the construction of buildings higher than the imperial residence in the capital. It was because of this decree that the Singer company at the beginning of the 20th century had to abandon its idea of building a skyscraper for itself on Nevsky Prospect, like in New York. As a result, a tower was built over six floors with an attic and decorated with a globe, creating the impression of height.
Elizabethan Baroque
The palace was built in the so-called Elizabethan Baroque style. It is a quadrangle with a large courtyard. The building is decorated with columns, platbands, and the roof balustrade is lined with dozens of luxurious vases and statues. But the building was rebuilt several times, Quarenghi, Montferrand, Rossi worked on the interior decoration at the end of the 18th century, and after the infamous fire of 1837 - Stasov and Bryullov, so the Baroque elements were not preserved everywhere. Details of the lush style remained in the interior of the famous main Jordan Staircase. It got its name from Jordan Passage, which was located nearby. Through him, on the feast of the Epiphany, the imperial family and the highest clergy went to the ice hole in the Neva. This ceremony was traditionally called the “march to the Jordan.” Baroque details are also preserved in the decoration of the Great Church. But the church was ruined, and now only a large lampshade by Fontebasso depicting the Resurrection of Christ reminds of its purpose.
Source: wikipedia.org
In 1762, Catherine II ascended the throne, who did not like Rastrelli’s pompous style. The architect was dismissed, and new craftsmen took over the interior decoration. They destroyed the Throne Hall and erected a new Neva Enfilade. Under the leadership of Quarenghi, the St. George, or Great Throne Hall, was created. For it, a small extension had to be made to the eastern façade of the palace. At the end of the 19th century, the Red Boudoir, the Golden Living Room and the Library of Nicholas II appeared.
Hard days of the Revolution
In the first days of the Revolution of 1917, sailors and workers stole a huge amount of the Winter Palace's treasures. Only a few days later the Soviet government realized to take the building under protection. A year later, the palace was given over to the Museum of the Revolution, so some of the interiors were rebuilt. For example, the Romanov Gallery, where portraits of all the emperors and members of their families were located, was destroyed, and films began to be shown in the Nicholas Hall. In 1922, part of the building went to the Hermitage, and only by 1946 the entire Winter Palace became part of the museum.
During the Great Patriotic War, the palace building was damaged by air raids and artillery shelling. Since the beginning of the war most The exhibits exhibited in the Winter Palace were sent for storage to the Ipatiev Mansion, the same one where the family of Emperor Nicholas II was shot. About 2,000 people lived in the Hermitage bomb shelters. They tried their best to preserve the exhibits remaining within the walls of the palace. Sometimes they had to fish out china and chandeliers floating in flooded basements.
Furry guards
Not only did the water threaten to ruin the art, but also the voracious rats. The first mustachioed army for the Winter Palace was sent from Kazan in 1745. Catherine II did not like cats, but she left the striped protectors at court in the status of “guards of art galleries.” During the blockade, all the cats in the city died, which is why the rats multiplied and began to spoil the interiors of the palace. After the war, 5 thousand cats were brought to the Hermitage, which quickly dealt with the tailed pests.
Winter Palace. People and walls [History of the imperial residence, 1762–1917] Zimin Igor Viktorovich
Formation of half of Catherine II
Back in the second half of the 1750s. F.B. Rastrelli incorporated into the scheme of the Winter Palace the standard layout option that he used in the palaces of Tsarskoe Selo and Peterhof. The basement of the palace was used as servants' quarters or storage rooms. The ground floor of the palace housed service and utility rooms. The second floor (mezzanine) of the palace was intended to accommodate ceremonial, state halls and personal apartments of top officials. On the third floor of the palace, ladies-in-waiting, doctors and close servants were accommodated. This planning scheme assumed predominantly horizontal connections between the various living areas of the palace. The endless corridors of the Winter Palace became the material embodiment of these horizontal connections.
The heart of the palace became the chambers of the first person. At first, Rastrelli planned these chambers for Elizaveta Petrovna. The architect located the rooms of the aging empress in the sunny southeastern part of the palace. The windows of the Empress's private chambers faced Millionnaya Street. Petrov’s unpretentious daughter loved to sit by the window, looking at the bustle of the street. Apparently, taking into account precisely this form of women’s leisure and sunlight, so rare in our latitudes, Rastrelli planned the layout of the empress’s private rooms.
Peter III, and after him Catherine II, left Rastrelli's planning scheme in force, retaining the role of its residential center for the southeastern risalit of the Winter Palace. At the same time, Peter III retained the rooms in which Elizaveta Petrovna planned to live. For his hateful wife, the eccentric emperor designated chambers on the western side of the Winter Palace, the windows of which overlooked the industrial zone of the Admiralty, which since the time of Peter I had functioned as a shipyard.
E. Vigilius. Portrait of Catherine II in uniform l. - Guards Preobrazhensky Regiment. After 1762
After the coup on June 28, 1762, Catherine II lived in the Winter Palace for just a few days. The rest of the time she continued to live in the wooden Elizabethan Palace on the Moika.
Since Catherine II urgently needed to strengthen her precarious position with a legitimate coronation, she went to Moscow in August 1762 to be crowned in the Assumption Cathedral of the Moscow Kremlin. The coronation took place on September 22, 1762.
It is impossible not to note the high pace of life of this woman, so atypical for that leisurely time. Then, in the first half of 1762, she not only organized a conspiracy against her husband, but also managed to secretly give birth to a child in April 1762, whose father was her lover G.G. Orlov. At the end of June 1762 there followed a coup, at the beginning of July - the “mysterious” death of Peter III and the coronation in September 1762. And for all this she had enough intelligence, strength, nerves and energy.
After Catherine II left for Moscow, construction work in the Winter Palace did not stop, but it was carried out by other people. These changes are associated with a number of circumstances. Firstly, a new reign always means new people. Catherine II removed many dignitaries of the Elizabethan era, including the architect F.B. Rastrelli. On August 20, 1762, Rastrelli was sent on leave as Elizabeth Petrovna’s man. Secondly, Catherine II considered the bizarre baroque an outdated style. At the subconscious level, she wanted her reign to be marked by visible stylistic changes, called classicism. Therefore, Rastrelli's vacation smoothly turned into his resignation.
Unknown artist. Oath of the Life Guards Izmailovsky Regiment June 28, 1762 First quarter of the 19th century.
Rastrelli was replaced by architects who had previously played second roles. These were those who worked in the new manner desired by Catherine II - J.-B. Vallin-Delamot, A. Rinaldi, and Y. Felten. That is, those architects who are usually attributed to the period of so-called early classicism. Let us note that all of them treated the completed areas of their predecessor’s work in the Winter Palace with great care. They did not affect the already completed Baroque façade of the Winter Palace at all. However, perhaps purely mercantile considerations also played a role here. There was simply no money for global changes to the newly built Winter Palace.
I. Mayer. Winter Palace from Vasilyevsky Island. 1796
M. Mikhaev. View of the Winter Palace from the east. 1750s
Nevertheless, this tradition continued later. Therefore, the Winter Palace to this day is a bizarre mixture of styles: the facade, the Great Church, Main staircase Rastrelli's baroque decor is still preserved, but the rest of the rooms have been repeatedly remodeled. In the second half of the 18th century. these corrections and alterations were in the spirit of classicism. After the fire of 1837, many interior spaces were decorated in the historicist style.
Winter Palace. Pavilion Flashlight. Lithograph by Bayot based on a drawing by O. Montferrand. 1834
The new creative group began work in the Winter Palace in the fall of 1762. Thus, Yu. Felten, fulfilling the personal instructions of the Empress, decorated her chambers in a classicist style. The Diamond Room, or Diamond Peace, is best known from descriptions of it. We emphasize that no images of Catherine II’s personal chambers have reached us. At all. But numerous descriptions of them have been preserved.
As mentioned, back at the end of 1761, Peter III ordered “for the empress... to decorate the premises on the Admiralty side and build a staircase through all three floors.” Therefore, on the second floor of the western building of the Winter Palace, even under Peter III, J.-B. Vallin-Delamot began decorating the private chambers of Catherine II. These included a Bedroom, a Dressing Room, a Boudoir, and an Office. Yu. Felten also worked there, through whose work the Portrait and the “Bright Cabinet” appeared in a wooden bay window built above the entrance, which would later be called Saltykovsky.
Apparently, the empress liked the idea of a three-light bay window. Even in the bustle of preparing for the coup, she was able to note and appreciate this “architectural element.” Therefore, after the cessation of work in the western part of the palace, the idea of a “cabinet” materialized in the southwestern risalit, where the famous Lantern appeared above the entrance, later called the Commandant’s, - a small palace hall located above the entrance.
A watercolor by an unknown artist, “Catherine II on the balcony of the Winter Palace on the day of the coup,” dated to the end of the 18th century, has survived. This watercolor shows the scaffolding near the southwestern risalit of the palace. There is no flashlight yet, but there is a balcony covered from above with a hipped canopy. The place was cozy, and the Lantern, taking into account the St. Petersburg climate, was closed with solid walls. This cozy Lantern remained above the Commandant's Entrance until the 1920s.
By the beginning of 1763, Catherine II, having returned to St. Petersburg, finally finally decided on her place of residence in the huge Winter Palace. In March 1763, she ordered her chambers to be moved to the southwestern risalit, where the chambers of Empress Elizabeth Petrovna and Peter III had previously been.
There is no doubt that there was a clear political context to this decision. Catherine II, as a pragmatic and intelligent politician, integrated herself not only into the system of power, but also into the existing scheme of palace chambers. Then, in 1863, she took into account every little thing that could strengthen her position, including such as the continuity of the imperial chambers: from Elizabeth Petrovna to Peter III and to her - Empress Catherine II. Her decision to move her chambers to the high-status south-eastern corner of the Winter Palace was probably dictated by the desire to strengthen her precarious position, including through this “geographical method”. The chambers in which Elizaveta Petrovna and Peter III were supposed to live could only become her chambers. Accordingly, all the work carried out by J.-B. since the autumn of 1762. Wallen-Delamot and Yu. Felten in the western wing of the palace immediately turned away. So Catherine II did not live a single day in the rooms located along the western facade of the Winter Palace.
New work was carried out on a grand scale. This was no longer a minor cosmetic renovation undertaken by Peter III. In the southeastern risalit, a large-scale redevelopment of the interior began, when the newly erected walls were dismantled. When carrying out the work, the architects also took into account the nuances of the personal life of the 33-year-old empress. Directly under the personal chambers of Catherine II, on the mezzanine of the first floor, the rooms of her common-law husband at that time, Grigory Orlov, were located. There, on the mezzanine, right under the church altar, they built a bathhouse (soaphouse, or soapbox) with spacious and luxurious premises.
G.G. Orlov
G.A. Potemkin
The empress repeatedly mentioned this little soapbox in her intimate correspondence with her changing favorites. The favorites changed, but the soap bar remained as a secluded meeting place. For example, in February 1774, Catherine II wrote to G.A. Potemkin: “Darling, if you want to eat meat, know that now everything is ready in the bathhouse. And don’t take any food from there to yourself, otherwise the whole world will know that food is being prepared in the bathhouse.” In March 1774, the Empress reported to Potemkin about her conversation with Alexei Orlov, who knew well what the soap box was for: “... My answer was: “I don’t know how to lie.” He again asked: “Yes or no?” I said: “Yes.” Having heard this, he burst out laughing and said: “Can you see me in the soapbox?” I asked: “Why does he think this?” “Because, they say, the fire was visible in the window for about four days later than usual.” Then he added: “It was clear yesterday that the agreement does not at all show people’s agreement between you, and this is very good.”
Construction and finishing work proceeded at a feverish pace from January to September 1763. As a result, on the site of Peter III’s chambers, through the efforts of architects and with the unconditional personal participation of the Empress, a complex of Catherine II’s personal chambers was formed, which included the following premises: Audience Chamber with an area of 227 m2 , which replaced the Throne Room; Dining room with two windows; Bright office; Restroom; two casual bedrooms; Boudoir; Office and Library.
AND ABOUT. Miodushevsky. Presentation of a letter to Catherine II
All of these rooms were designed in the style of early classicism, but at the same time they combined components that are difficult to compare for this style - solemn pomp and undoubted comfort. The pomp was provided by the architects of early classicism, and comfort, without a doubt, was brought by the empress herself. However, we know about all this only from descriptions of the chambers left by contemporaries.
The direct intervention of Catherine II in the adoption of architectural decisions is known for certain. The most famous fact is the empress’s order to remodel one of her everyday bedrooms into the Diamond Room, or Diamond Room, which will be discussed later.
Contemporaries who visited the Winter Palace left numerous descriptions of the empress’s private rooms. One of these French travelers wrote: “... the empress’s apartments are very simple: in front of the audience hall there is a small glassed office where the crown and her diamonds are kept under seals; the audience hall is very simple: near the door there is a red velvet throne; then there is a living room, decorated in wood and gilt, with two fireplaces, ridiculously small. This room, used for receptions, communicates with the apartments of the Grand Duke, where there is nothing remarkable, just like in the rooms of his children.”
Let us note that marble of various grades began to arrive from the Urals to St. Petersburg to decorate the premises of the Winter Palace. Columns, fireplaces, boards for tables, etc. were hewn from this marble. Finished products and semi-finished products were delivered to St. Petersburg by water on barges. The first such transport was sent to the capital in the spring of 1766.
Empress Catherine II moved to the Winter Palace in the fall of 1763. If we look at the Chamber-Fourier journals for 1763, the chronology of events is as follows:
August 13, 1763 “Her Imperial Majesty deigned to have an outlet for a walk through the streets and deigned to be in the stone Winter Palace...”.
On October 12, 1763, the Empress ordered “the kurtag not to be, but to be on next Wednesday, that is, this October 15th in the Winter Stone Palace of Her Imperial Majesty.”
On October 15, 1763, Catherine II moved to the Winter Palace, where she held a housewarming party, “introducing” her new home to those around her.
On October 19, 1763, the Empress organized the first “public masquerade in the Winter Palace for all the nobility,” presenting the palace to all the capital's nobility.
At the same time, construction work did not stop in other parts of the palace, where the state rooms continued to be finished. It was only in 1764 that major finishing work in the Winter Palace was completed.
Naturally, with the completion of the work in 1762–1764. The Winter Palace did not remain frozen in its unchanged shape and layout. Construction work continued almost continuously on a larger or smaller scale. This is evidenced by a handwritten note by Catherine II dating back to 1766, in which she summarizes “expenses on buildings.” (See Table 1.)
Table 1
Global redevelopment of the Winter Palace began in the late 1770s. and were associated with the growth of the imperial family. All this time, construction work in the palace was led by the President of the Imperial Academy of Arts and the Empress’s secretary I.I. Betskoy. On his initiative, Catherine II signed a decree of October 9, 1769, according to which the “Office for the construction of Her Imperial Majesty’s houses and gardens” was abolished and on its basis the “Office for the construction of Her Imperial Majesty’s houses and gardens” was created under the direction of the same I. AND. Betsky. At the same time, in 1769, the Empress set a quota for the maintenance and construction of the Winter Palace at 60,000 rubles. in year.
A. Roslin. Portrait of I.I. Betsky. 1777
This text is an introductory fragment. From the book From Rurik to Paul I. History of Russia in questions and answers author Vyazemsky Yuri PavlovichChapter 8. From Catherine to Catherine Question 8.1 In 1726, Menshikov abolished salaries for minor officials. On what basis? How did you explain? Question 8.2 Who was the last to be buried in the Archangel Cathedral? Question 8.3 They say that under Anna Ioannovna Elizaveta Petrovna, the future
From the book History of the Middle Ages. Volume 1 [In two volumes. Under the general editorship of S. D. Skazkin] author Skazkin Sergey Danilovich§ 1. BYZANTIUM IV - FIRST HALF OF IX centuries. Formation of the Byzantine Empire Byzantium (Eastern Roman Empire), which emerged as an independent state in the 4th century. as a result of the division of the Roman Empire into Eastern and Western (395), surpassed the Western in level
From the book Winter Palace. People and Walls [History of the Imperial Residence, 1762–1917] author Zimin Igor ViktorovichHalf of the children and grandchildren of Empress Catherine II in the Winter Palace The rooms on the second floor of the western facade of the Winter Palace, facing the Admiralty, located between two risalits, were originally intended for Catherine II when she was her wife
From the book Guerrilla Warfare. Strategy and tactics. 1941-1943 by Armstrong John2. Formation "Graukopf" (experimental formation "Osintorf", experimental formation "Center") At the end of 1941, German military intelligence and counterintelligence (Abwehr) began the formation of a special unit of Russian nationalists in the village of Osintorf,
From the book World History: in 6 volumes. Volume 3: The World in Early Modern Times author Team of authorsDISCOVERIES OF THE SECOND HALF OF THE 16TH - FIRST HALF OF THE 17TH CENTURY Searches for the northwest and northeast passages. In the second half of the 16th century. the initiative in the Great Geographical Discoveries passes from the Spaniards and Portuguese, whose forces were barely enough to hold on to
From the book Historical Fates of the Crimean Tatars. author Vozgrin Valery EvgenievichECONOMY OF THE FIRST HALF OF THE 19TH CENTURY One of the largest colonialists of the beginning of the last century, Mordvinov, was confident that “the Tatars are incapable of living and occupying lands and gardens,” which is why “the common good requires that foreigners be attracted to the mountainous part of Crimea, raising the price
From the book National History. Crib author Barysheva Anna Dmitrievna26 ENLIGHTENED ABSOLUTISM OF CATHERINE II. REFORM OF CATHERINE II Catherine II ruled almost the entire second half of the 18th century. (1762–1796). This era is usually called the era of enlightened absolutism, since Catherine, following the new European enlightenment tradition, was
From the book From the Varangians to Nobel [Swedes on the banks of the Neva] author Youngfeldt BengtFrom Catherine to Catherine: Karl Karlovich Anderson Stockholm boy Karl Anderson was one of those numerous foreigners whose talent blossomed in St. Petersburg; in this sense, his fate is typical. But the beginning of his life's journey was far from ordinary;
From the book Architects of Moscow XV - XIX centuries. Book 1 author Yaralov Yu. S.S. M. Zemtsov Architects of Moscow in the second half of the 15th and first half of the 16th centuries From the 70s of the 15th century until the end of the 30s of the 16th century, Moscow was enriched with works of architecture worthy of the capital of a huge country. Until the final unification of Russian lands under the auspices of Moscow
The Winter Palace is without a doubt one of the most famous landmarks of St. Petersburg
The Winter Palace that we see today is actually the fifth building built on this site. Its construction lasted from 1754 to 1762. Today it reminds us of the splendor of the once popular Elizabethan Baroque and is, apparently, the crowning achievement of Rastrelli himself.
As I already said, there were five Winter Palaces in total on this site, but the entire period of change was invested in a modest 46 years between 1708, when the first was erected, and 1754, when construction began on the fifth
The first Winter Palace was a small Dutch-style house built by Peter the Great for himself and his family.
In 1711, the wooden building was rebuilt into a stone one, and this event was timed to coincide with the wedding of Peter I and Catherine. In 1720, Peter I and his family moved from the summer residence to the winter one, in 1723 the Senate was located in the palace, and in 1725 the life of the great emperor was cut short here
The new empress, Anna Ioannovna, considered that the Winter Palace was too small for the imperial person, and entrusted its reconstruction to Rastrelli. The architect proposed to buy the houses nearby and demolish them, which was done, and on the site of the old palace and demolished buildings, a new, third Winter Palace soon grew up, the construction of which was finally completed by 1735. On July 2, 1739, the solemn betrothal of Princess Anna Leopoldovna to Prince Anton-Ulrich took place in this palace, and after the death of the empress, the young Emperor John Antonovich was transported here, who lived here until November 25, 1741, when Elizabeth Petrovna took power into her own hands. The new empress was also unhappy appearance palace, so on January 1, 1752, a couple more houses near the residence were bought, and Rastrelli added a couple of new buildings to the palace. At the end of 1752, the Empress decided that it would be a good idea to increase the height of the palace from 14 to 22 meters. Rastrelli proposed to build the palace in another place, but Elizabeth refused, so the palace was again completely dismantled, and on June 16, 1754, construction of a new Winter Palace began in its place
The fourth Winter Palace was temporary: Rastrelli built it in 1755 on the corner of Nevsky Prospect and the Moika River embankment while the fifth was being built. The fourth palace was demolished in 1762, when the construction of the Winter Palace, which we are accustomed to seeing on St. Petersburg Palace Square today, was completed. The Fifth Winter Palace became the tallest building in the city, but the empress never lived to see the completion of construction - Peter III admired the almost finished palace on April 6, 1762, although he did not live to see the completion of the interior finishing work. The Emperor was killed in 1762, and the construction of the Winter Palace was finally completed under Catherine II. The Empress removed Rastrelli from work, and instead hired Betsky, under whose leadership a Throne Hall appeared on the side of Palace Square, in front of which a waiting room was built - the White Hall, behind which a dining room was located. The Bright Study was adjacent to the dining room, and behind it was the State Bedchamber, which later became the Diamond Chamber. In addition, Catherine II took care of creating a library, an imperial study, a boudoir, two bedrooms and a restroom in the palace, in which the empress built a toilet seat from the throne of one of her lovers, the Polish king Poniatowski =) By the way, it was under Catherine II that the Winter Palace the famous winter garden, Romanov Gallery and St. George's Hall
In 1837, the Winter Palace experienced a serious test - a major fire, which took more than three days to extinguish. At this time, all palace property was taken out and piled around the Alexander Column
Another incident in the palace occurred on February 5, 1880, when Khalturin detonated a bomb to kill Alexander II, but as a result only the guards were injured - 8 people died, and 45 were injured of varying degrees of severity.
On January 9, 1905, a famous event occurred that turned the tide of history: a peaceful workers’ demonstration was shot in front of the Winter Palace, which served as the beginning of the Revolution of 1905-1907. The walls of the palace never again saw persons of imperial blood - during the First World War there was a military hospital here, during the February Revolution the building was occupied by troops who went over to the side of the rebels, and in July 1917 the Winter Palace was occupied by the Provisional Government. During the October Revolution, on the night of October 25-26, 1917, the Red Guard, revolutionary soldiers and sailors surrounded the Winter Palace, guarded by a garrison of cadets and a women's battalion, and by 2:10 a.m. on October 26, after the famous salvo from the cruiser "Aurora" , stormed the palace and arrested the Provisional Government - the troops guarding the palace surrendered without a fight
In 1918, part of the Winter Palace, and in 1922 the rest of the building was transferred to the State Hermitage. and Palace Square with the Alexander Column and the General Staff building form one of the most beautiful and amazing ensembles in the entire post-Soviet space
The Winter Palace is designed in the shape of a square, the facades of which overlook the Neva, the Admiralty and Palace Square, and in the center of the main facade there is a front arch
Winter Garden in the Winter Palace)
In the southeast of the second floor is the legacy of the fourth Winter Palace - the Great Church, built under the leadership of Rastrelli
Today the Winter Palace has at its disposal more than a thousand different rooms, the design of which is amazing and creates an impression of unforgettable solemnity and splendor.
The exterior design of the Winter Palace should, according to Rastrelli's plan, architecturally connect it with the ensemble Northern capital
The elegance of the palace is emphasized by vases and sculptures installed along the entire perimeter of the building above the cornice, once carved from stone, which were later, at the turn of the 19th-20th centuries, replaced with metal analogues
Today the Small Hermitage is located in the Winter Palace building
A small photo selection
On October 10, 1894, Her Highness Princess Alice of Hesse arrived by regular train in Livadia, accompanied by Their Imperial Highnesses Grand Duke Sergei Alexandrovich and Grand Duchess Elizaveta Feodorovna (her older sister). The imminent arrival of the Heir's bride was caused by the critical health condition of Emperor Alexander III, who was supposed to bless the Tsarevich's marriage. The engagement itself took place in Coburg on April 8 of the same year.
M. Zichy
On November 14, 1894, the Highest Wedding took place in the Cathedral of the Imperial Winter Palace. 
L. Tuxen
After the solemn ceremony, the August couple went to the Imperial Anichkov Palace, under the shelter of the Dowager Empress Maria Feodorovna.
On November 18, the newlyweds Grand Duchess Ksenia Alexandrovna and Grand Duke Alexander Mikhailovich, who were married on July 25, visited the Personal rooms in the Winter Palace. Then the final decision was made to move to Zimny.
The arrangement of the future Apartment was entrusted to the new Palace Architect A.F. Krasovsky. The place for it was chosen on the second floor of the northwestern part of the palace. The former chambers of Empress Maria Feodorovna, which previously belonged to the wife of Sovereign Nikolai Pavlovich, were supposed to be remodeled. It should be noted that the magnificent Bryullov and Stackenschneider interiors under the Emperors Alexander II and Alexander III did not undergo significant changes. The abundance of gilding, French silk and museum value of the canvas did not suit the taste of the Tsarevich and Her Highness. N.I. Kramskoy and S.A. Danini were appointed to help Academician A.F. Krasovsky to reconstruct these chambers. Based on the results of the announced competition for best project The team included academician M. E. Mesmacher, architect D. A. Kryzhanovsky and academician N. V. Nabokov for the interiors of the new Imperial chambers. Carpentry and artistic work was performed in the best workshops of F. Meltzer, N. Svirsky and Shteingoltz.
Her Imperial Highness Grand Duchess Elizaveta Feodorovna took an active part in the arrangement of the Imperial personal chambers. She negotiated with both architects and artists. All direct executors of the order were obliged to take into account her instructions.
In the spring of 1895, the interiors of the new Imperial private chambers were finally approved in all details. The finishing was carried out at the fastest possible pace and already on December 16, 1895, after participating in the New Year's charity bazaar, held in the halls of the Imperial Hermitage, the August couple visited their fully decorated chambers in the palace.
Before you start exploring the Apartment, you should get some idea of the Imperial Winter Palace. According to a note from 1888, the total area of the palace with the Imperial Hermitage and the building of the Imperial Hermitage Theater occupied 20,719 square meters. soot or 8 2/3 tithes, the palace building itself is 4,902 sq. sazh., main yard – 1,912 sq. soot; The residential floors of the palace contained 1,050 chambers, the floor area of which was 10,219 square meters. soot (4 1/4 des.), and the volume is up to 34,500 cubic meters. soot; in these chambers there are 6,333 sq. soot parquet floors: 548 – marble, 2,568 – slabs, 324 – planks, 512 – asphalt, mosaic, brick, etc.; doors - 1,786, windows - 1,945, 117 staircases with 3,800 steps, 470 different stoves (after the fire of 1837, heating was installed in the palace according to the method of General Amosov: the stoves were in the basement, and the rooms were heated with warm air through pipes) ; the surface of the palace roof is 5,942 sq. soot; the roof has 147 dormers, 33 glass skylights, 329 chimneys with 781 smokes; the length of the cornice surrounding the roof is 927 fathoms, and the stone parapet is 706 fathoms; lightning rods - 13. The cost of maintaining the palace extended up to 350 thousand rubles. per year with 470 employees.
Plan: 
Malachite living room. Prefaced the Personal Chambers of Their Majesties. It was part of the Front Neva Enfilade. Here ancient rituals of the Royal House were held, courtiers were received, relatives gathered, and numerous Councils of Committees headed by Her Majesty met. During court balls, Their Majesties rested here in privacy. From here began the ceremonial exits of Their Majesties. 
Her Majesty's Salon or Her Majesty's First Drawing Room. This room, decorated in the Empire style, was intended for receiving the Maids of Honor of the Court. The restrained decor was made by masters G. Botta, A. Zabelin and painter D. Molinari. Furniture from the workshop of N. F. Svirsky. 
Her Majesty's Silver Drawing Room, or Her Majesty's Second Drawing Room. Living room in the style of Louis XVI. Intended for receptions of Her Majesty's ladies-in-waiting and ladies of the Diplomatic Corps, as well as for Her Majesty's rest. The ladies on duty were also there. Her Majesty, who had a good soprano voice, often played music with her entourage in this living room. Being a keen collector of French Galle and Daum glass, Her Majesty placed the best examples here. 
Her Majesty's Office. Noteworthy is the particularly respectful attitude towards the memory of the former owners of the chambers on the part of Her Majesty. Thus, above Her Majesty’s desk was installed a portrait by Vigée-Lebrun of the first August mistress, Empress Elizaveta Alekseevna. A small podium behind screens in the northwestern corner of the Cabinet served as an observation platform for admiring the views of Northern Palmyra. 
Her Majesty's Bedroom. A modest room of the August spouses, with children's furniture that belonged to Grand Duchess Olga Nikolaevna. French chintz is widely used in decoration. 
Her Majesty's dressing room. Made in the style of Louis XVI. 
Her Majesty's boudoir. Adjoined directly to His Majesty's Cabinet. Decorated in a restrained Gothic style. 
Concluding our acquaintance with Her Majesty’s chambers, I would like to say that during the stay of Their Majesties in the palace, these rooms were filled with a great variety of flowers and greenery. Countless vases, pots, flowerpots of various shapes and sizes with roses, orchids, lilies, cyclamen, azaleas, hydrangeas and violets filled the apartment with subtle scents.
His Majesty's office. Made in Gothic style. His Majesty in memory of his journey through the countries of the Middle and Far East placed here many pieces of art from China, Japan and India. All things were selected and arranged with my own hands. By the way, the Emperor understood the culture of Asia, sent an expedition to Tibet, collected a unique collection of Japanese Shunga prints for Russia (which perished in 1918), and even had a small tattoo. 
Valet. 
The White Dining Room of Their Majesties, or the Small Dining Room of Their Majesties. Made in the style of Louis XVI. The walls were decorated with Russian tapestries from the 18th century. It was illuminated by a musical chandelier made in England. 
Moorish. It was intended for the relaxation of courtiers during the Great Imperial Balls. In normal times it was used as Their Majesties' State Dining Room. 
His Majesty's Library. The only surviving room of Their Majesties' Apartment. Decorated in Gothic style. As in His Majesty’s Cabinet, the carpentry work was carried out by the workshops of N. F. Svirsky. On the fireplace were the coats of arms of the Royal House and the House of the Dukes of Hesse. Their Majesties were passionate bibliophiles, subsidized a number of literary and artistic publications (including the famous Diaghilev magazine “World of Art”), and had their own book marks. The library served as the official Reception and State Office of His Majesty. At the same time, it was also the most favorite room of the August couple. Here Their Majesties had breakfast, played music, read aloud, sorted out new books, played board games, had a snack in the evenings after the theater or bath, and played with the children. 
Rotunda. Main Hall Imperial Palace, in which buffets were served during balls, and in normal times the little Grand Duchesses roller-skated there. 
Small church. 
His Majesty's Billiard Room. 
Adjutant of His Majesty. Intended to be on duty with His Majesty. 
On the ground floor, exactly under the Personal Half of Their Majesties, the children's rooms of Their Imperial Highnesses were set up. The rooms were decorated in Art Nouveau style.
Visitors who arrived at the palace on official business entered the Emperor's apartments through the western, Saltykovsky, entrance.
Their Imperial Majesties' Own Entrance. 
Their Majesties gave almost nine years of their lives to the Apartment in the Imperial Winter Palace. Since the summer of 1904, Their Majesties appeared here only on official receptions. The main residence was the Imperial Alexander Palace in Tsarskoe Selo. In 1904, the last high society ball in the Empire was given. In 1915, in the Front Enfilades, the Empress established an infirmary for the lower ranks.
To summarize this acquaintance, you should know that all these interiors have not been preserved. Partially surviving exceptions: Rotunda, Moorish, Malachite, Small Dining Room, His Majesty's Library.
However, there is an “Inventory of things belonging to Their Imperial Majesties and stored in their Own rooms in the Winter Palace,” compiled by the Chief Overseer of Room Property in the Imperial Winter Palace and the Imperial Hermitage, Nikolai Nikolaevich Dementiev, who held this position from 1888 to 1917. This inventory is distinguished by its precise location fixation items and their detailed descriptions.
As an epilogue:
After the fall of the Monarchy, Their Imperial Majesties' Own Half was opened to the public. In 1918 the palace was plundered by the Bolsheviks.
End of 1918.
Office of the Tsar-Liberator. 
Her Majesty's dressing room. 
Her Majesty's Office. 
Rooms of Grand Duchess Tatiana Nikolaevna. 
PS - thanks to Vladimir (GUVH) for submitting the idea to make this message.
