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Winter Palace
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For other uses, see Winter Palace (disambiguation).
The Winter Palace[1] is a palace in Saint Petersburg that served as the official residence of the House of Romanov, previous emperors, from 1732 to 1917. The palace and its precincts now house the Hermitage Museum. The floor area is 233,345 square metres (it has been calculated that the palace contains 1,886 doors, 1,945 windows, 1,500 rooms and 117 staircases).[2][3] The total area of the Winter Palace is 14.2 hectares.[4] Situated between Palace Embankment and Palace Square, adjacent to the site of Peter the Great's original Winter Palace, the present and fourth Winter Palace was built and altered almost continuously between the late 1730s and 1837, when it was severely damaged by fire and immediately rebuilt.[5] The storming of the palace in 1917, as depicted in Soviet art and in Sergei Eisenstein's 1928 film October, became a symbol of the October Revolution.
The Winter Palace, from Palace Square
The Winter Palace, from Palace Embankment
The Winter Palace, from above
The emperors constructed their palaces on a monumental scale that aimed to reflect the might and power of Imperial Russia. From the palace, the tsars[6] ruled over 22,800,000 square kilometers (8,800,000 sq mi)[7][8] (almost 1/6 of the Earth's landmass) and 125 million subjects by the end of the 19th century. Several architects participated in designing the Winter Palace—most notably the Italian Bartolomeo Rastrelli (1700–1771)—in what became known as the Elizabethan Baroque style. The green-and-white palace has the overall shape of an elongated rectangle, and its principal façade is 215 metres (705 ft) long and 30 m (98 ft) high. Following a serious fire, the palace's rebuilding of 1837 left the exterior unchanged, but large parts of the interior were redesigned in a variety of tastes and styles, leading the palace to be described as a "19th-century palace inspired by a model in Rococo style".[9]
In 1905, the Bloody Sunday events occurred when demonstrators marched toward the Winter Palace, but by this time the Imperial Family had chosen to live in the more secure and secluded Alexander Palace at Tsarskoe Selo (lit. 'imperial village'), and returned to the Winter Palace only for formal and state occasions. Following the February Revolution of 1917, the palace operated for a short time as the seat of the Russian Provisional Government, ultimately led by Alexander Kerensky. Later that same year a detachment of Red Guard soldiers and sailors stormed the palace—a defining moment in the birth of the Soviet state, overthrowing the Provisional Government.
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Peter the Great's Winter Palace (1711–1753)
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The first Winter Palace, designed in 1711 for Peter the Great, by Domenico Trezzini who, 16 years later, was to design the third Winter Palace
Upon returning from his Grand Embassy in 1698, Peter I of Russia embarked on a policy of Westernization and expansion that was to transform the Tsardom of Russia into the Russian Empire and a major European power.[10] This policy was manifested in bricks and mortar by the creation of a new city, Saint Petersburg, in 1703.[11] The culture and design of the new city was intended as a conscious rejection of traditional Byzantine-influenced Russian architecture, such as the then-fashionable Naryshkin Baroque, in favour of the classically inspired architecture prevailing in the great cities of Europe. The Tsar intended that his new city would be designed in a Flemish renaissance style, later known as Petrine Baroque, and this was the style he selected for his new palace in the city. The first Royal residence on the site had been a humble log cabin then known as the Domik Petra I, built in 1704, which faced the River Neva. In 1711, it was transported to the Petrovskaya Naberezhnaya,[12] where it still stands.[13] With the site cleared, the Tsar then embarked on the building of a larger house between 1711 and 1712. This house, today referred to as The First Winter Palace, was designed by Domenico Trezzini.[14]
The 18th century was a period of great development in European royal architecture, as the need for a fortified residence gradually lessened. This process, which had begun in the late 16th century, accelerated and great classical palaces quickly replaced fortified castles throughout the more powerful European countries. One of the earliest and most notable examples was Louis XIV's Versailles. Largely completed by 1710, Versailles—with its size and splendour—heightened rivalry amongst the sovereigns of Europe. Peter the Great of Russia, keen to promote all western concepts, wished to have a modern palace like his fellow sovereigns. However, unlike some of his successors, Peter I never aspired to rival Versailles.
The third Winter Palace of 1727. Designed by Domenico Trezzini it incorporated the second Winter Palace of 1721 by Georg Mattarnovy as one of its terminating pavilions. c.1732
The first Winter Palace was a modest building of two main floors under a slate roof.[15] It seems that Peter soon tired of the first palace, for in 1721 the second version of the Winter Palace was built under the direction of architect Georg Mattarnovy. Mattarnovy's palace, though still very modest compared to royal palaces in other European capitals, was on two floors above a rusticated ground floor, with a central projection underneath a pediment supported by columns.[16] It was here that Peter the Great died in 1725.
The Winter Palace was not the only palace in the unfinished city, or even the most splendid, as Peter had ordered his nobles to construct stone built residences and to spend half the year there.[17] This was an unpopular command; Saint Petersburg was founded upon a swamp, with little sunlight, and it was said only cabbages and turnips would grow there. It was forbidden to fell trees for fuel, so hot water was permitted just once a week. Only Peter's second wife, Empress Catherine, pretended to enjoy life in the new city.[17]
As a result of pressed slave labour from all over the Empire,[18] work on the city progressed quickly. It has been estimated that 200,000 people died in twenty years while building the city.[18] A diplomat of the time, who described the city as "a heap of villages linked together, like some plantation in the West Indies", just a few years later called it "a wonder of the world, considering its magnificent palaces".[19] Some of these new palaces in Peter's beloved Flemish Baroque style, such as the Kikin Hall and the Menshikov Palace, still stand.
The palace, 1725–1855
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The principal or "Jordan Staircase", (8 on the plan below), so-called because on the Feast of the Epiphany the Tsar descended this Imperial staircase in state for the ceremony of the "Blessing of the Waters". It is one of the few parts of the palace retaining Rastrelli's 18th century rococo style. The massive grey granite columns were, however, added in the mid-19th century. Painting by Konstantin Ukhtomsky.[20]
On Peter the Great's death in 1725, the city of Saint Petersburg was still far from being the centre of western culture and civilization that he had envisioned. Many of the aristocrats who had been compelled by the Tsar to inhabit Saint Petersburg left. Wolves roamed the squares at night while bands of discontented pressed serfs, imported to build the Tsar's new city and Baltic fleet, frequently rebelled.
Peter I was succeeded by his widow, Catherine I, who reigned until her death in 1727. She in turn was succeeded by Peter I's grandson Peter II, who in 1727 had Mattarnovy's palace greatly enlarged by the architect Domenico Trezzini.[13] Trezzini, who had designed the Summer Palace in 1711, was one of the greatest exponents of the Petrine Baroque style, now completely redesigned and expanded Mattarnovy's existing Winter Palace to such an extent that Mattarnovy's entire palace became merely one of the two terminating pavilions of the new, and third, Winter Palace.[21] The third palace, like the second, was in the Petrine Baroque style.
In 1728, shortly after the third palace was completed, the Imperial Court left Saint Petersburg for Moscow, and the Winter Palace lost its status as the principal imperial residence. Moscow had once again been designated the capital city, a status which had been granted to Saint Petersburg in 1713. Following the death of Peter II in 1730 the throne passed to a niece of Peter I, Anna Ivanovna, Duchess of Courland.
Anna (1730–1740)
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The new Empress cared more for Saint Petersburg than her immediate predecessors; she re-established the Imperial court at the Winter Palace, and in 1732 Saint Petersburg again officially replaced Moscow as Russia's capital, a position it was to hold until 1918.
Ignoring the third Winter Palace, the Empress on her return to Saint Petersburg took up residence at the neighbouring Apraksin Palace.[13] In 1732, the Tsaritsa commissioned the Italian architect Francesco Bartolomeo Rastrelli to completely rebuild and extend the Apraksin Palace, incorporating other neighbouring houses.[22] Thus, the core of the fourth and final Winter Palace is not the palace of Peter the Great, but the palace of Admiral General Fyodor Matveyevich Apraksin.[13]
The Empress Anna, though unpopular and considered "dull, coarse, fat, harsh and spiteful",[23] was keen to introduce a more civilized and cultured air to her court. She designed new liveries for her servants and, on her orders, mead and vodka were replaced with champagne and Burgundy. She instructed the Russian nobility to replace their plain furniture with that of mahogany and ebony,[24] while her own tastes in interior decoration ran to a dressing table of solid gold and an "easing stool" of silver, studded with rubies. It was against such a backdrop of magnificence and extravagance that she gave her first ball in the newly completed gallery at the Winter Palace, which, in the middle of the Russian winter, resembled an orange grove.[25] This, the fourth version of the Winter Palace, was to be an ongoing project for the architect Rastrelli throughout the reign of the Empress Anna.
Elizabeth (1741–1762)
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Unscaled plan of the 1st floor of the Winter Palace as it appears today, the fourth palace on the site. The numbers in this key are referred to throughout the article—click on numbers for images, pages and further details.
The infant Tsar Ivan VI, succeeding Anna in 1740, was soon deposed in a bloodless coup d'état by Grand Duchess Elizabeth, a daughter of Peter the Great. The new Empress Elizabeth, whose main residence was the Summer Palace, led the court at the Winter Palace to be described later by the Russian historian Vasily Klyuchevsky as a place of "gilded squalor".[26]
During the reign of Elizabeth, Rastrelli, still working to his original plan, devised an entirely new scheme in 1753, on a colossal scale—the present Winter Palace. The expedited completion of the palace became a matter of honour to the Empress, who regarded the palace as a symbol of national prestige. Work on the building continued throughout the year, even in the severest months of the winter. The deprivation to both the Russian people and the army caused by the ongoing Seven Years' War were not permitted to hinder the progress. 859,555 rubles had been allocated to the project, a sum raised by a tax on state-owned taverns.[27] Though the labourers earned a monthly wage of just one ruble, the cost of the project exceeded the budget, so much so that work ceased due to lack of resources despite the Empress' obsessive desire for rapid completion. Ultimately, taxes were increased on salt and alcohol to fund the extra costs, although the Russian people were already burdened by taxes to pay for the war. The final cost was 2,500,000 rubles.[28] By 1759, shortly before Elizabeth's death, a Winter Palace truly worthy of the name was nearing completion.
Catherine II (1762–1796)
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It was Empress Elizabeth who selected the German princess, Sophie of Anhalt-Zerbst, as a bride for her nephew and successor, Peter III. The marriage was not a success, but it was this princess who, as Catherine the Great, came to be chiefly associated with the Winter Palace. In 1762, following a coup d'état, in which her husband was murdered, Catherine paraded her seven-year-old son, Paul, on the Winter Palace's balcony to an excited crowd below.[29] She was not presenting her son as the new and rightful ruler of Russia, however; that honour she was usurping herself.
St George's Hall (13 on plan above), the principal throne room of the Tsars of Russia. The room was a late addition to the Palace for Catherine II. Painting by Konstantin Ukhtomsky.
Catherine's patronage of the architects Starov and Giacomo Quarenghi saw the palace further enlarged and transformed.[9] At this time an opera house which had existed in the southwestern wing of the palace was swept away to provide apartments for members of Catherine's family. In 1790, Quarenghi redesigned five of Rastrelli's state rooms to create the three vast halls of the Neva enfilade. Catherine was responsible for the three large adjoining palaces, known collectively as the Hermitage—the name by which the entire complex, including the Winter Palace, was to become known 150 years later.
Catherine had been impressed by the French architect Jean-Baptiste Vallin de la Mothe, who designed the Imperial Academy of Arts (also in Saint Petersburg) and commissioned him to add a new wing to the Winter Palace.[30] This was intended as a place of retreat from the formalities and ceremonies of the court. Catherine christened it the Hermitage (14), a name used by her predecessor Tsaritsa Elizabeth to describe her private rooms within the palace.
The interior of the Hermitage wing was intended to be a simple contrast to that of the Winter Palace. Indeed, it is said that the concept of the Hermitage as a retreat was suggested to Catherine by that advocate of the simple life, Jean Jacques Rousseau.[31] In reality, it was another large palace in itself, connected to the main palace by a series of covered walkways and heated courtyards in which flew rare exotic birds.[32] Noted for its fine portico and attention to details of a delicate nature,[30] it was richly furnished with an ever-growing art collection.
Frans Hals' Portrait of a Man with a Glove, purchased for the Winter Palace in 1764
The palace's art collection was assembled haphazardly in an eclectic manner, often with an eye to quantity rather than quality. Many of the artworks purchased for the palaces arrived as parts of a job lot as the sovereign acquired whole ready-assembled collections. The Empress' ambassadors in Rome, Paris, Amsterdam and London were instructed to look out for and purchase thousands of priceless works of art on her behalf. Ironically, while Saint Petersburg high society and the extended Romanov family derided Russia's last Empress for furnishing her palaces "mail order" from Maples of London, she was following the practices of Catherine the Great, who, if not exactly by "mail order", certainly bought "sight unseen".[32]
In this way, between 1764 and 1781 Catherine the Great acquired six major collections: those of Johann Ernst Gotzkowsky; Heinrich von Brühl; Pierre Crozat; Horace Walpole; Sylvestre-Raphael Baudouin; and finally in 1787, the John Lyde-Brown collection.[33] These large assemblies of art included works by such masters as Rembrandt, Rubens, Titian, Raphael, Tiepolo, van Dyck and Reni.[32] The acquisition of 225 paintings forming the Gotzkowsky collection was a source of personal pride to Catherine. It had been put together by Gotzkowsky for Catherine's adversary, Frederick the Great of Prussia who, as a result of his wars with Russia, could not afford to pay for it. This collection included some great Flemish and Dutch works, most notably Frans Hals' Portrait of a Man with a Glove.[34] In 1769, the Bruhl collection brought to the Winter Palace two further works by Rembrandt, Portrait of a Scholar and Portrait of an Old Man in Red.
While some aspects of this manic collecting could have been a manifestation of Catherine's desire for a recognition of her intellectual concepts,[35] there was also a more fundamental motivation: necessity. Just twenty years earlier, so scarce were the furnishings of the Imperial palaces that bedsteads, mirrors, tables and chairs had to be conveyed between Moscow and Saint Petersburg each time the court moved.[36]
As the palace filled with art, it overflowed into the Hermitage. So large did Catherine's art collection eventually become that it became necessary to commission the German-trained architect Yury Velten to build a second and larger extension to the palace, which eventually became known as the Old Hermitage (15). Later, Catherine commissioned a third extension, the Hermitage Theatre, designed by Giacomo Quarenghi.[37] This construction necessitated the demolition of Peter the Great's by now crumbling third Winter palace.
Rembrandt's Portrait of a Scholar purchased in 1769. The painting is one of several by Rembrandt in the former Imperial Collection.
The Empress' life within the Hermitage, surrounded by her art and friends, was simpler than in the adjacent Winter Palace; there, the Empress gave small intimate suppers. Servants were excluded from these suppers and a sign on the wall read "Sit down where you choose, and when you please without it being repeated to you a thousand times."[32]
Catherine was also responsible for introducing the lasting affection for all things French to the Russian court. While she personally disliked France, her distaste did not extend to its culture and manners.[35] French became the language of the court; Russian was relegated for use only when speaking to servants and inferiors. The Russian aristocracy was encouraged to embrace the philosophies of Molière, Racine and Corneille.[35] The Winter Palace was to serve as a model for numerous Russian palaces belonging to Catherine's aristocracy, all of them, like the Winter Palace itself, built by the slave labour of Russian serfs. The sophistication and manners observed inside the Winter Palace were greatly at odds with the grim reality of life outside its externally gilded walls. In 1767, as the Winter Palace grew in richness and splendour, the Empress published an edict extending Russian serfdom. During her reign she further enslaved over a million peasants.[38] Work continued on the Winter Palace right up until the time of the Empress' death in 1796.
Paul I, Alexander I, and Nicholas I (1796–1855)
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The Rotunda (26). This circular hall, dating from the early 19th century, links the state and private rooms of the palace, and represents the final and neoclassical stage of the palace's evolution. Painting by Yefim Tukharinov.
Catherine the Great was succeeded by her son Paul I. In the first days of his reign, the new Tsar (reported by the British Ambassador to be "not in his senses"[39]) augmented the number of troops stationed at the Winter Palace, positioning sentry boxes every few metres around the building. Eventually, paranoid for his security and disliking anything connected with his mother,[40] he spurned the Winter Palace completely and built Saint Michael's Castle as his Saint Petersburg residence, on the site of his birthplace. The Tsar announced that he wished to die on the spot he was born. He was murdered there three weeks after taking up residence in 1801.[41] Paul I was succeeded by his 24-year-old son, Alexander I, who ruled Russia during the chaotic period of the Napoleonic Wars. Following Napoleon's defeat in 1815, the contents of the Winter Palace were further enhanced when Alexander I purchased the art collection of the former French Empress, Joséphine. This collection, some of it plundered loot given to her by her ex-husband Napoleon, contained amongst its many old masters Rembrandt's The Descent from the Cross and four sculptures by Antonio Canova.[34]
Alexander I was succeeded in 1825 by his brother Nicholas I. Tsar Nicholas was to be responsible for the palace's present appearance and layout. He not only effected many changes to the interior of the palace but also was responsible for its complete rebuilding following the fire of 1837.[42]
Architecture
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As completed, the overriding exterior form of the Winter Palace's architecture, with its decoration in the form of statuary and opulent stucco work on the pediments above façades and windows, is Baroque. The exterior has remained as finished during the reign of Empress Elizabeth. The principal façades, those facing the Palace Square and the Neva river, have always been accessible and visible to the public. Only the lateral façades are hidden behind granite walls, concealing a garden created during the reign of Nicholas II.[43] The building was conceived as a town palace, rather than a private palace within a park, such as that of the French kings at Versailles.
The Nicholas Hall (6 on plan) is the principal reception room, at the centre of the Neva enfilade. This room was the setting for court balls. Painting by Konstantin Ukhtomsky.[31]
The architectural theme continues throughout the interior of the palace. The first floor, being the piano nobile, is distinguished by windows taller than those of the floors above and below. Each window is divided from its neighbour by a pilaster. The repetitive monotony of the long elevations is broken only by symmetrically placed slightly projecting bays, many with their own small portico. This theme has been constant during all subsequent rebuilding and alterations to the palace. The only external changes have been in colour: at various times in its history the palace has been painted different shades. In the eighteenth century, the palace was painted straw yellow with white and gilded ornament. Under Nicholas I in 1837, it was painted a dull red, which it remained through the revolution and early Soviet period. Following the restoration work after World War II, it was painted green with the ornament depicted in white, the standard Soviet color scheme for Baroque buildings. (The Stroganov Palace, for example, was also green and white in this period.)[citation needed]
Internally, the palace appears as a combination of the Baroque and the Neoclassical. Little of Rastrelli's rococo interior design has survived; only the Jordan Staircase and the Grand Church remain in their original style. The changes to the interior were largely due to the influences of the architects employed by Catherine the Great in the last years of her life, Starov and Quarenghi, who began to alter much of the interior of the palace as designed by Rastrelli. Catherine always wanted the latest fashions, and during her reign the more severe neoclassical architectural influences, fashionable in Western Europe from the late 1760s, slowly crept towards Saint Petersburg.[9] The neoclassical interiors were further emphasised and extended during the reign of Catherine's grandson, Nicholas I.
Quarenghi is credited with introducing the Neoclassical style to Saint Petersburg.[9] His work, together with that of Karl Ivanovich Rossi and Auguste de Montferrand, gradually transformed Saint Petersburg into an "Empire Town". Montferrand not only created some of the palace's greatest neoclassical interiors, but also was responsible for the erection of the Column of Alexander during the reign of Nicholas I in Rossi's newly designed Palace Square.
For a long time the Winter Palace was the tallest edifice in the city. In 1844, Nicholas I gave the orders to the effect that private houses should be at least 1 sazhen (2.13 m) lower than the Winter Palace. This rule was effective until 1905.[44]
Interior
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The Small Throne Room (10 on plan) was created by Auguste de Montferrand in 1833. It has columns of jasper. Diplomats gathered here on New Year's Day to offer good wishes to the Emperor.[31]
The Winter Palace is said to contain 1,500 rooms, 1,786 doors and 1,945 windows.[45] The principal façade is 500 ft (150 m) long and 100 ft (30 m) high.[9] The ground floor contained mostly bureaucratic and domestic offices, while the second floor was given over to apartments for senior courtiers and high-ranking officials. The principal rooms and living quarters of the Imperial Family are on the first floor, the piano nobile.[46] The great state rooms, used by the court, are arranged in two enfilades, from the top of the Jordan Staircase. The original Baroque suite of the Tsaritsa Elizabeth running west, fronting the Neva, was completely redesigned in 1790–93 by Giacomo Quarenghi. He transformed the original enfilade of five state rooms into a suite of three vast halls, decorated with faux marble columns, bas-reliefs and statuary.[47]
Plan showing the use and division of the principal floor, as occupied in the 1840s. 1 (red): state and most formal rooms; 2 (dark green): apartments of the Tsar; 3 (pink): apartments of the Empress; 4: apartments of the Tsarevich, other times part of principal guest suite; 5: apartments of the Tsarevna; 6: apartments reserved for guests of the highest rank and members of the Imperial Family; 7: nurseries of the 3rd and the 4th in line to the throne; 8: general private rooms of the Imperial Family; 9: principal guest suite, used immediately after their marriage by Grand Duchess Maria Nikolaevna and her husband.
A second suite of state rooms running south to the Great Church was created for Catherine II. Between 1787 and 1795, Quarenghi added a new eastern wing to this suite which contained the great throne room, known as St George's Hall (13),[47] which linked the Winter Palace to Catherine's less formal palace, the Hermitage, next door. This suite was altered in the 1820s when the Military Gallery (11) was created from a series of small rooms, to celebrate the defeat of Napoleon. This gallery, which had been conceived by Alexander I, was designed by Carlo Rossi and was built between June and November 1826 under Nicolas I; it was inaugurated on 25 October 1826.[48] For the 1812 Gallery, the Tsar commissioned 332 portraits of the generals instrumental in the defeat of France. The artist was the Briton George Dawe, who received assistance from Alexander Polyakov and Wilhelm August Golicke.[34]
Nicholas I was also responsible for the creation of the Battle Galleries (19), which occupy the central portion of the Palace Square façade. They were redesigned by Alexander Briullov to commemorate the Russian victories prior to 1812. Immediately adjacent to these galleries celebrating the French defeat, were rooms (18) where Maximilian, Duke of Leuchtenberg, Napoleon's step-grandson and the Tsar's son-in-law, lived during the early days of his marriage.[49]
Fire of 1837
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Main article: Fire in the Winter Palace
In 1833, de Montferrand was hired to redesign the eastern state rooms and create the Field Marshal's Hall and the Small Throne Room (9 & 10). In 1837, a fire broke out. Its cause is unknown, but its spread is blamed on de Montferrand. The architect was being hurried by the Tsar for an early completion, so he used wooden materials where stone would have been better. Additionally, between the hurriedly built wooden partition walls disused fireplaces were concealed; their chimneys, coupled with the narrow ventilation shafts, acted as flues for the fire, allowing it to spread undetected between the walls from room to room until it was too late to extinguish.[50]
Fire in the Winter Palace by Boris Green
Once detected, the fire continued to spread, but slowly enough that the palace guards and staff were able to rescue many of the contents, depositing them in the snow in Palace Square. This was no mean feat, as the treasures of the Winter Palace were always heavy furniture and fragile ornaments rather than lighter paintings.[51] To create a firebreak, the Tsar ordered the destruction of the three passages leading to the Hermitage, a fortunate act which saved the building and the huge art collection.[52] The Russian poet Vasily Zhukovsky witnessed the conflagration—"a vast bonfire with flames reaching the sky." The fire burned for several days, and destroyed most of the Winter Palace's interior.[50]
Seeming to ignore the size of the palace, the Tsar ordered that the rebuilding be completed within a year. The Marquis de Custine described the "unheard of efforts" that were necessary to facilitate this. "During the great frosts 6000 workmen were continually employed; of these a considerable number died daily, but the victims were instantly replaced by other champions brought forward to perish."[53] The work was supervised by Pyotr Kleinmichel, who had already gained a reputation for ruthlessness when serving in the military settlements under Arakcheev.[54]
The rebuilding of the palace took advantage of the latest construction techniques of the industrial age. The roof was supported by a metal framework, while the spans of ceilings in the great halls were supported by iron girders.[52] Following the fire, the exterior, most of the principal state suites, the Jordan staircase and the Grand Church were restored to their original design and decoration by the architect Vasily Stasov. Some of the rooms, such as the second largest room in the Winter Palace, the Armorial Hall, became far more ornate, however, with a heavy use of gilt.[52] The smaller and more private rooms of the palace were altered and decorated in various 19th-century contemporary styles by Alexander Briullov according to whims and fashion of their intended occupants, ranging from Gothic to rococo.[52] The Tsarevna's crimson boudoir (23), in the private Imperial apartments, was a faithful reproduction of the rococo style, which Catherine II and her architects started to eliminate from the palace less than 50 years earlier. One of the palace's most notable rooms was created as a result of the fire when the Jasper Room, which had been destroyed, was rebuilt as the Malachite Drawing Room, the principal reception room of the Tsaritsa's suite. The Tsar himself, for all the grandeur he created in his palaces, loved the greatest simplicity. His bedroom at the Winter Palace was spartan, with no ornaments save for some maps and an icon, and he slept on a camp bed with a straw mattress.[55]
Usage of the palace
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Main article: Private Apartments of the Winter Palace
The Armorial Hall, or Guard Room (11 on plan), is decorated with vast stucco panoplies.
While the state rooms occupied the northern and eastern wings of the palace and the private rooms of the Imperial Family occupied the western wing, the four corners of the building contained the smaller rooms, which were the apartments of lesser members of the Imperial Family, often being of two floors. This is one of the reasons that the palace can appear a confusing assortment of great halls or salons with no obvious purpose located in odd corners of the palace. The fact that the Malachite Drawing Room is separated from the equally large Gold Drawing Room by a series of bedrooms and small cabinets initially seems unusual. However, when considered in the context that the Malachite Drawing Room was the principal reception room of the Empress' apartment while the Gold Drawing Room was the principal reception room of the apartment of her daughter-in-law, the Tsarevna, the arrangement of the rooms makes more sense. Similarly the vast White Hall, so far from the other grand halls, was in fact the principal hall of the Tsarevich's and Tsarevna's apartments. Thus the Winter Palace can be viewed as a series of small palaces within one large palace, with the largest and grandest rooms being public while the residents lived in suites of varying sizes, allocated according to rank.[56]
As the formal home of the Russian Tsars, the palace was the setting for profuse, frequent and lavish entertaining. The dining table could seat 1,000 guests, while the state rooms could contain up to 10,000 people—all standing, as no chairs were provided.[57] These rooms, halls and galleries were heated to such a temperature that while it was sub-zero outside, exotic plants bloomed within, while the brilliant lighting gave the ambiance of a summer's day.[58]
The Winter Palace's Grand Church today retains its original rococo decoration. The onion dome above it is one of the few concessions to an older Russian architecture allowed to be visible from the exterior. Painting by Eduard Hau.
Guests on ceremonial and state occasions would follow a set processional route, arriving at the palace courtyard through the central arch of the south façade, and then entering the palace through the state entrance (sometimes called the Ambassadors' Entrance) (8). They would then proceed through the colonnaded Jordan Hall before mounting the gilded Imperial staircase (8), from where the two enfilades of state rooms spread out. The principal or Jordan Staircase, so-called because on the Feast of the Epiphany, the Tsar descended in state for the ceremony of the Blessing of the Waters, is one of the few parts of the palace to retain the original 18th century rococo style, although the massive grey granite columns were added in the mid-19th century.[20]
One of the most important rooms was the Palace's Grand Church (16). Granted cathedral status, it was of greater religious significance than the chapels of most European royal palaces. It was here that Romanov weddings were usually celebrated with a rigid and unchanging tradition and protocol. Even the bride's dress, and the manner of donning it, was dictated by tradition. Dressed by the Empress, the bride and her procession would pass from the Malachite Drawing Room to the church through the state rooms.[59]
The Imperial Family were not the only residents of the palace; below the metal framework in the attics lived an army of servants. So vast were the servants' quarters that a former servant and his family, unbeknownst to the palace authorities, moved into the roof of the palace. They were only discovered by the smell of the manure from the cow that they had also smuggled into the building with them to provide fresh milk.[60] It seems this cow was not the only bovine in the attics; other cows were kept next to the room occupied by the Maids of Honour, in order to provide fresh milk for the kitchens. This practice was discontinued after the 1837 fire.[61]
Imperial Hermitage Museum
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Main article: State Hermitage Museum
The Atlantes portico of Nicholas I's New Hermitage, Russia's first public art gallery
After the death of Catherine the Great, the Hermitage had become a private treasure house of the Tsars, who continued collecting, albeit not on the scale of Catherine the Great. In 1850, the collection of Cristoforo Barbarigo was acquired. This collection from Republic of Venice brought into the Winter Palace further works by Titian, in addition to many 16th-century Renaissance works of art.
Nicholas I, conscious of the great art galleries in other European capitals, saw that Catherine the Great's Large Hermitage (15) was vastly expanded and transformed into a purpose-built public art gallery. In 1839, German architect Leo von Klenze drew up the plans and their execution was overseen by Vasily Stasov, assisted by Alexander Briullov and Nikolai Yefimov.[62][63] With so many architects involved there were inevitably many conflicts over the design and its execution throughout the 1840s, with the Tsar having frequently to act as moderator.[64] Eventually, after eleven years of building and architectural conflict, the first art museum in Russia, the Imperial Hermitage Museum, opened on 5 February 1852.[34] The trebeated facades of the building were inspired by Schinkelesque architecture. It was erected in grey marble round three courtyards and the complex is noted for the asymmetrical planning of its wings and floors.[62] By order of the Tsar, visitors to the museum were required to wear evening dress, even in the morning. The Tsar also decreed that grey top hats were "Jewish" and dress coats "revolutionary".[65] Having negotiated the dress code, what the public saw was a huge array of art, but only a fraction of the Imperial collection, as the Winter Palace and other Imperial palaces remained closed to the viewing public.
Using the Lomo LC-Wide, I shot half-frame with no mask to create a continuous panoramic as a diary of a photowalk with @camera_london and @kosmofoto. These 14 shots chart the day from beginning to end.
The Gladstone Hotel is the oldest continuously operating hotel in Toronto. It was originally built in 1889 as a stylish hostelry across from the then existing Parkdale railroad station. It was designed by George Miller, the architect of the Lillian Massey building of the University of Toronto, in red brick with beautiful sandstone carvings.
The Gladstone Hotel has been described as an example of “unabashed architectural exuberance” utilizing details from the Greek, Romanesque, Gothic and Renaissance eras. The hotel was restored over a two year period to reflect the building’s architectural history.
Gladstone Gallery: The Gladstone Hotel's Gallery is located on the second floor and is a multi-use space that provides a unique setting for receptions, exhibitions, break-out meetings, artist work studios and conferences.
Gladstone Hotel Photographer: Royel Edwards
Pendular shears for continuous cutting of thin sheet up to 3 m wide at the end of pre-assembly in the Galbiati Group workshop. The blade is driven by the rotation of the entire blade-holder unit on journals that are supported by oil film bearings. All drives are hydraulic/mechanical coordinated by a computer system in order to adapt to the wide variety of sheet to be cut.
Photos taken at the Continuous Integration User Group meeting at Skills Matter eXchange, London, on 20th April 2011. The speaker was Chris Read.
i discovered the continuous button on my digital, but fell en route to my station in front of the lens.
2. Nursery box (a) and partitions (b) for continuous strip seedlings.
books.google.com.ph/books/irri?id=1n2UXwTjMwcC&lpg=PP...
Part of the image collection of the International Rice Research Institute (IRRI)
It can be said that when Lewis Diminuco likes something, he sure sticks with it! He has been a continuous YMCA member for almost 75 years! His family membership first commenced in 1938 when he joined the Rochester, New York YMCA. He even received a 25-year silver card from the Rochester YMCA in 1963 to commemorate his dedication to the organization. When he and his family relocated to Dallas in the 1960‘s, one of the first things they did was join the Town North Family YMCA. It was there that his sons participated in just about every organized sport imaginable and they attended camp each summer at every level by age group. “The Y has played a major part in the lives of our family,” says Lewis. “Without a doubt, the Town North YMCA has been an important influence on my children as they grew up, and our entire family has benefited enormously.” The family tradition continued as Lewis’s grandchildren have also become involved in YMCA programs and activities, and when his grandchildren from out of town would visit, they always added the Town North YMCA to their list of things to do. “I check in at the Y several times each week for workouts and to socialize with friends,” says Lewis. I enjoy the atmosphere and the staff are so pleasant and ready to help and serve. The Town North YMCA is the hub and star of our neighborhood!”
New continuous glucose monitor sensor cracked, to support a relaxed pancreas this holiday, with brand new feature (as predicted) - no more reader required - direct scanning with iPhone via NFC.
#CGM #ContinuousGlucoseMonitor
#MetabolicHealth
#LCHF
#DiabetesPrevention
#DiabetesReversal
#EmbraceCuriosity
#DataOverDogma
No product endorsement implied, see
for freedom from conflict of interest statement - #ConflictFree #NoDollarsForThisDoc
The biodiversity park is located at Gurgaon Delhi border and the site is one of very few open space left in continuously expanding Gurgaon city. The site is actually an over exploited stone quarries, work on which were banned by Indian Supreme Court in early 1990s. The aravali range is Aravali range is dividing South Delhi from Gurgaon and it is very significant in every team for both Delhi and Gurgaon to have some Breathing Space. The existing site is very vulnerable to greedy developers who have successfully collaborated with the Corrupt Haryana state government's officials and have changed the land use for forest, and other to land use types to residential and commercial. The previous state government were too keen and have shown over the top interest to change the land use type to generate the revenue.
The Gurgaon district which constitute only 5% of population and land of the state have been generating more than 50% of revenue for the state of more than 25 million for last two decades. This biased policy of tax generation has turned the Gurgaon city into a classic example of "How not to design a city" and "one of the most unplanned, and unsustainable" city. The corporate, developer friendly media have supported this move throughout this "development phase" and have termed the city as "Millennium city" arguably comparing it to Manhattan , Singapore or Shanghai. Some of the residents realized the reality and started demanding the open spaces most which was already been taken by Malls, Multi Storey housing and Cyber parks. The gurgaon based NGO "I am Gurgaon" with the help of Local council started developing area into a "natural forest" with local native plantation. The idea behind the re-generation was that the area and the elements must require extremely low maintenance, self-sustaining and Vandal proof because of factors like rouge element, size of the site and the experience required to maintain.
This bench is made of 90% Recycle / Reusable Material without compromising on the design and comfort. The Bench boards i.e. sitting and the rest back is made of the Unused / Electric Concrete pole with width of 12 or more absolutely suitable for comfortable sitting. The Material of the bench are already available and doesn't need to be processed, the Materials and life of Final bench if made with perfect detail can last decades. The important thing about the Proposed Bench is that it was designed as Vandal proof, and wont suffer from any wear and tear in extreme weather's and doesn't need any maintenance. The brackets and mounting hardware were sourced from the illegal board hoarding. The complete cost will come out approximately 7,000 Indian rupees ( equivalent to 100 US $)
Photos taken at the Continuous Integration User Group meeting at Skills Matter eXchange, London, on 20th April 2011. The speaker was Chris Read.
Photos taken at the Continuous Integration User Group meeting at Skills Matter eXchange, London, on 20th April 2011. The speaker was Chris Read.
www.getlaidbeds.co.uk/Mattresses/open-coil-sprung-mattres...
Our continuous coil mattress is ideal for guest rooms or children as the single coil unit provides all the support needed for occasional use but at an extremely competitive price. This mattress is a revolution in economical mattresses and offers a durable yet cost effective choice.
Photos from the London Continuous Integration Group's Continuous Integration Lightning Talks, which took place at Skills Matter eXchange.
Purington continuous kiln after years of neglect.
File Name: P-1593t
Date: c. 1991
Genre: Photo
Rights: No known copyright
Preferred citation: Courtesy Galesburg Public Library Archives
Photos on Galesburg Public Library's Flickr page are low-resolution scans of photos for personal use. For high-resolution, or to get permission to publish, contact the archivist at archives@galesburglibrary.org or visit www.galesburglibrary.org
川崎 T-4 中等練習機 戦技研究仕様
Kawasaki T-4 Tariner Aircraft Specification for Aerobatic
航空自衛隊 航空教育集団 第4航空団 飛行群 第11飛行隊「ブルーインパルス」 / 松島基地
JASDF Air Training Command, 4th Air Wing, Flight Group, 11th Squadron "Blue Impulse" / Matsushima Air Base
2017年12月1日 新田原飛行場（航空自衛隊 新田原基地）にて撮影
December 1, 2017 at Nyutabaru Airfield (JASDF Nyutabaru Air Base), RJFN
Tools, Collaboration, and Conway's Law: how to choose and use tools effectively for Continuous Delivery and DevOps
Continuous sunflower scene card using Lawn Fawn Stamps and Prismacolor pencils Additional details on blog. (1 of 2).