The Lower Dressing Room

The Lower Dressing Room. Designed by V. Brenna (1790s) and A. Voronikhin (early 19th century). Water-colour by E. Hau, 1877 THE LOWER DRESSING ROOM in the private apartment suite belongs to most curious specimens of the late 18th-century living room interiors. In decorating the room the architects generously used oak-wood. Its surface treatment , colour and texture, fine shaping and combining with gilt picture frames added to the integrity and elegance of the interior. The white tile stove shaped as a rotunda with Ionic columns and mythological reliefs was the principle feature of the architectural decor. The walls were adorned with pictures representing views of the Gatchina Park and scenes on mythological and biblical subjects. The pictures carefully preserved during the war will again grace the interior after its restoration.

The Lower Throne Hall

The Lower Throne Hall. Designed by V. Brenna (1790s) and A. Voronikhin (early 19th century). Water-colour by E. Hau, 1877 THE LOWER THRONE HALL is the largest of the private apartments and the strictest in its furnishings. The walls were carpet covered with gilt-framed pictures as tradition went in the 18th century. Italian genre paintings of the 17th -18th centuries, landscapes and portraits of Menshikov, Minich and Sheremetev could be seen here. An ivory obelisk glorifying Paul Fs victories over Napoleon stood upon the dark-red cloth covered table. The huge ceiling-to-floor portrait of Peter I on horseback was the focal point. The early records listed: "The image of His Majesty Peter the Great mounted on a horse. The portrait is fairly good but the artist is unknown". The picture is attributed to the French artist Jean Jouvenais at present. A state chair was installed against the portrait of Peter I in 1797 and the room was called then the Lower Throne Hall.

The Lower Chevalier Chamber

The Lower Chevalier Chamber. Designed by V. Brenna (1790s) and A. Voronikhin I early 19th century). Water-colour by E. Hau, 1877 THE LOWER CHEVALIER CHAMBER was austere as compared to other private rooms since it lacked ornamental paintings and had cold greenish-blue tints of the walls and ceiling. The chamber was large and dim (the windows facing the vestibule). It featured a semi-official decor: three large pictures, two portraits of the Golitsin family and chairs at the walls. Court officers were on duty there. The tapestry portrait of Count Gri-gory Orlov invariably attracted attention. It was a masterpiece of the Petersburg Tapestry Factory built up by Jean-Baptiste Rondelet in 1763.

Remodelling the Arsenal Block in the 1850s, the architect Roman Kuzmin carefully preserved the architectural and decor features of his predecessors.
A. Elkina, N. Tretyakov

Main Page  •  Preview  •  The Antechamber. The Marble Dining Room  •  The Throne Hall.  •  Rinaldi's Communicating Room. The White Hall  •  The Picture Hall. The Crimson Drawing Room  •  The State Bedroom. The Dressing Room. The Green Corner Room  •  The Weapon Gallery. The Chesme Gallery. The Greek Gallery  •  The Late 18th-century Private Apartments  •  The Lower Dressing Room. The Lower Throne Hall. The Lower Chevalier Chamber  •  The Gothic Gallery. The Chinese Gallery  •  The Oak Chamber. The Arsenal Block Drawing Room  •  The Chinz Chambers  •  The Arsenal Block Drawing Room. The Arsenal Hall


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