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The State Gatchina Museum contains an important collection of architectural drawings (1, 234 items). During World War II, the collection was evacuated to Sarapul. The drawings gradually made their way back to the museum beginning in 1946 to the late 1980s. Today, only seven exhibits are housed outside of the museum. The Gatchina Palace drawings are of great artistic and historical significance.
The collection includes drawings done by renowned architects such as S. van Zwieten, F.B. Rastrelli, V. Brenna, N. Lvov, G. Quarenghi, F. Demertsov, A. Zakharov, R. Kuzmin, A. Stakenschneider, and N. Dmitriev. A majority of the drawings in the collection relate to Gatchina’s history, although some of them reflect the architectural history of other residences of the tsar and manors of the nobility. These include designs and survey drawings for the parks and structures located in Dalny Dubky, Italian and Summer Gardens, Ropsha, Oranienbaum, Pavlovsk, Nikolskoye-Cherenchitsy by N.Lvov. There are also drawings depicting designs for the Winter Palaces in St Petersburg.
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Plan and Section of the Amphitheatre
Plan, Section and Front Elevation of the Venus Pavilion
The White Hall of the Gatchina Palace
The Elevation of the Arsenal Wing
Design for Seven Banquet Tables
Design for the Hofmarschall Department at Gatchina
Master Plan for the Gatchina Park and part of Menagerie
Design for St George’s Hall
Axonometric Plan of Ingerburg Fortress at Gatchina
Elevations of the Monastery of St Charalampias
A.M. Baykov. Plan and Section of the Amphitheatre. Measured Survey. 1848. Pen and ink, pencil, brush, watercolor on paper. 42х31 cm. (Inv. № ГДМ-85-XII).
Alexey Mikhailovich Baykov (1790 – 1854) served as an architect in the town administration for Gatchina from 1813 until his death. In 1848, he developed designs to restore the Amphitheatre that was built under Paul I in 1797. The Amphitheatre was designed as an arena enclosed with a high earthwork rampart with entryways cut into it. The structure was probably intended to hold “carousels” at the court - costumed sporting tournaments. By the 1840s the Amphitheater had become dilapidated, its supporting stone walls sagged and decayed, and the rows of seats for spectators had become overgrown by brush. It cost the town administration 2,000 roubles to restore this peculiar structure.
Alexey Mikhailovich Baykov (1790 – 1854) served as an architect in the town administration for Gatchina from 1813 until his death. In 1848, he developed designs to restore the Amphitheatre that was built under Paul I in 1797. The Amphitheatre was designed as an arena enclosed with a high earthwork rampart with entryways cut into it. The structure was probably intended to hold “carousels” at the court - costumed sporting tournaments. By the 1840s the Amphitheater had become dilapidated, its supporting stone walls sagged and decayed, and the rows of seats for spectators had become overgrown by brush. It cost the town administration 2,000 roubles to restore this peculiar structure.
N.V. Dmitriev. Plan, Section and Front Elevation of the Venus Pavilion. 1887. Ink and watercolor on paper. 32х107сm. (Inv. № ГДМ-99-XII).
Segment of a measured site survey.
Nikolay Vasilievich Dmitriev (1856-1918) was a famous St Petersburg-based architect, who was employed as an architect in the Gatchina Palace Administration and the town of Gatchina from 1885 to 1903. He was in charge of repairing and restoring the parks at Gatchina. The Venus Pavilion illustrated on the drawing was built on the island of Love in 1792-93. The drawings for the Island of Love and the Venus Pavilion at the French estate of Chantili were used to develop the layout of the island and design for the pavilion at Gatchina.
Segment of a measured site survey.
Nikolay Vasilievich Dmitriev (1856-1918) was a famous St Petersburg-based architect, who was employed as an architect in the Gatchina Palace Administration and the town of Gatchina from 1885 to 1903. He was in charge of repairing and restoring the parks at Gatchina. The Venus Pavilion illustrated on the drawing was built on the island of Love in 1792-93. The drawings for the Island of Love and the Venus Pavilion at the French estate of Chantili were used to develop the layout of the island and design for the pavilion at Gatchina.
R.I. Kuzmin. The White Hall of the Gatchina Palace. Dimensions given. Sections. 1854 (?). Pen and ink, brush, watercolor on paper. 43х64,3 сm. (Inv. № ГДМ-182-XII).
Fragment of the drawing. Once the side wings of the Gatchina Palace had been rebuilt in March of 1853, Nicholas I ordered that “the main building be corrected with its semicircular galleries”. In February of 1854 the architect Roman Kuzmin submitted his drawings for the state apartments in the Main Building to the head of the Gatchina Palace Administration, as instructed by Nicholas I. The refurbishment began in 1855 and was essentially completed in 1858. The White Hall is the largest room in the Main Building of the palace. Kuzmin was able to retain Rinaldi’s original décor from the eighteenth century. As part of the
refurbishment undertaken in the 1850s, the walls were plastered and painted anew, the moulded ornaments and door casings of artificial marble cleaned, and the fireplace mended.
Fragment of the drawing. Once the side wings of the Gatchina Palace had been rebuilt in March of 1853, Nicholas I ordered that “the main building be corrected with its semicircular galleries”. In February of 1854 the architect Roman Kuzmin submitted his drawings for the state apartments in the Main Building to the head of the Gatchina Palace Administration, as instructed by Nicholas I. The refurbishment began in 1855 and was essentially completed in 1858. The White Hall is the largest room in the Main Building of the palace. Kuzmin was able to retain Rinaldi’s original décor from the eighteenth century. As part of the
refurbishment undertaken in the 1850s, the walls were plastered and painted anew, the moulded ornaments and door casings of artificial marble cleaned, and the fireplace mended.
R.I. Kuzmin. The Elevation of the Arsenal Wing, facing Ekaterinverdsky Prospect. 1847. Pen and ink, brush, watercolor on paper. 44,4х64,2 cm. (Inv. № ГДМ-234-XII).
Roman Ivanovich Kuzmin (1811 – 1867), a gifted Russian architect, was responsible for the last reconstruction of the Gatchina Palace. Nicholas I commissioned R. Kuzmin to rebuild the side wings and to renovate the rooms into suites for use by the emperor and empress, imperial family members, and their entourage, as well as numerous service rooms. Once the old wings were dismantled, Kuzmin constructed new ones in their place. He raised the height of the wings, making the structure look more monumental with improved proportions. Work on the renovation, including that of the Main Building, lasted from 1845 to 1858. The present drawing depicts the front façade of the Arsenal Wing as seen from Ekaterinverdsky (now Krasnoarmeysky) prospect. In the centre of the façade is the arch leading into the inner courtyard, which served as the main entrance to the palace under Nicholas I.
Roman Ivanovich Kuzmin (1811 – 1867), a gifted Russian architect, was responsible for the last reconstruction of the Gatchina Palace. Nicholas I commissioned R. Kuzmin to rebuild the side wings and to renovate the rooms into suites for use by the emperor and empress, imperial family members, and their entourage, as well as numerous service rooms. Once the old wings were dismantled, Kuzmin constructed new ones in their place. He raised the height of the wings, making the structure look more monumental with improved proportions. Work on the renovation, including that of the Main Building, lasted from 1845 to 1858. The present drawing depicts the front façade of the Arsenal Wing as seen from Ekaterinverdsky (now Krasnoarmeysky) prospect. In the centre of the façade is the arch leading into the inner courtyard, which served as the main entrance to the palace under Nicholas I.
F.B. Rastrelli. Design for Seven Banquet Tables. Mid-18th century. Pen and ink, brush, watercolor on paper. 78,5 х 36,5 сm. (Inv. № ГДМ-405-XII).
Francesco Bartolomeo Rastrelli (1700 – 1771) was a distinguished Baroque architect, who not only built palaces, cathedrals and park pavilions, but also designed decorations for receptions at the imperial court. In the 18th century, a great deal of attention was given to the arrangement, shape and decoration of banquet tables. The Gatchina Palace has 12 drawings showing designs for banquet tables that came in a variety of forms and sizes. The present drawing shows seven tables arranged in a single hall. In the left-hand corner is the empress’s table, the main part elevated and facing the throne with four steps leading up to it. The dots along the parameter of the table signify “covers” (a cutlery set for one person) for each guest invited. By the number of sets it was possible to tell how many persons were expected for a meal. In the right-hand corner of the sheet is the architect’s signature «De Rastrelli».
Francesco Bartolomeo Rastrelli (1700 – 1771) was a distinguished Baroque architect, who not only built palaces, cathedrals and park pavilions, but also designed decorations for receptions at the imperial court. In the 18th century, a great deal of attention was given to the arrangement, shape and decoration of banquet tables. The Gatchina Palace has 12 drawings showing designs for banquet tables that came in a variety of forms and sizes. The present drawing shows seven tables arranged in a single hall. In the left-hand corner is the empress’s table, the main part elevated and facing the throne with four steps leading up to it. The dots along the parameter of the table signify “covers” (a cutlery set for one person) for each guest invited. By the number of sets it was possible to tell how many persons were expected for a meal. In the right-hand corner of the sheet is the architect’s signature «De Rastrelli».
Anonymous. Design for the Hofmarschall Department at Gatchina (Ekaterinverder). Second half 1790s. Pen, ink, brush, watercolor on paper. 98х56,5 сm. (Inv. № ГДМ-419-XII).
The drawing presents a grand scheme meant for a group of buildings to be built for the Hofmarschall Department nearby the Gatchina Palace. In 1798, the architect Brenna proposed eleven three-story buildings to be built, along the road to Kipen, adjacent to each other and connected by an inner corridor. They were intended to accomodate numerous services that were part of the Hofmarschall Department. The buildings shown in the drawing were typical for Gatchina in the time of Paul I. Their archaic appearance was reminiscent of French structures from the late 17th to the first half of the 18th centuries.
This complex of buildings was to be attached to the Ekaterinverder Tower, built back in 1795, which was supposed to be connected to the Arsenal Wing of the Palace with a gate
in the form of a triumphal arch. The gate was inspired by the entryway to the manège designed by Jean Aubert between 1719 and 1749 at the Château de Chantilly in France. Like other projects for Ekaterinverder, this one remained unfulfilled.
The drawing presents a grand scheme meant for a group of buildings to be built for the Hofmarschall Department nearby the Gatchina Palace. In 1798, the architect Brenna proposed eleven three-story buildings to be built, along the road to Kipen, adjacent to each other and connected by an inner corridor. They were intended to accomodate numerous services that were part of the Hofmarschall Department. The buildings shown in the drawing were typical for Gatchina in the time of Paul I. Their archaic appearance was reminiscent of French structures from the late 17th to the first half of the 18th centuries.
This complex of buildings was to be attached to the Ekaterinverder Tower, built back in 1795, which was supposed to be connected to the Arsenal Wing of the Palace with a gate
in the form of a triumphal arch. The gate was inspired by the entryway to the manège designed by Jean Aubert between 1719 and 1749 at the Château de Chantilly in France. Like other projects for Ekaterinverder, this one remained unfulfilled.
Anonymous. Master Plan for the Gatchina Park and part of Menagerie. Between second half of the 1780s and 1793. Pen and ink, brush and watercolor on paper. 50х63,5 сm. (inv. №ГДМ-14-XII).
This plan shows a new set of buildings that were to be built along the central axis of the Gatchina Palace instead of two palace side wings that were to be dismantled. This plan remained unexecuted. The design was influenced by the layout of the Chantilly estate. One of the earliest designs for the Mikhailovsky Castle can be seen in the plan along the central axis of the Gatchina Palace.
This plan shows a new set of buildings that were to be built along the central axis of the Gatchina Palace instead of two palace side wings that were to be dismantled. This plan remained unexecuted. The design was influenced by the layout of the Chantilly estate. One of the earliest designs for the Mikhailovsky Castle can be seen in the plan along the central axis of the Gatchina Palace.
G. Quarenghi. Design for St George’s Hall. Cross-section with view of the throne, ca. 1790. Pen, ink, brush, watercolor on paper. 64,7х96,7.(inv. № ГДМ-1202-XII).
Giacomo Quarenghi (1744 – 1817) was a prominent neoclassical architect. In 1787-1795, he designed a new wing for the Winter Palace on its east side. There were two state rooms on the upper floor: the Grand Throne Room (St George’s Hall) and the Apollo Hall. The unveiling of the Throne Room took place on November 26, 1795, known as a day to honor St. George. In 1837, St. George’s Hall was destroyed by a fire. Reconstruction was undertaken by V.P. Stasov.
Giacomo Quarenghi (1744 – 1817) was a prominent neoclassical architect. In 1787-1795, he designed a new wing for the Winter Palace on its east side. There were two state rooms on the upper floor: the Grand Throne Room (St George’s Hall) and the Apollo Hall. The unveiling of the Throne Room took place on November 26, 1795, known as a day to honor St. George. In 1837, St. George’s Hall was destroyed by a fire. Reconstruction was undertaken by V.P. Stasov.
Anonymous. Axonometric Plan of Ingerburg Fortress at Gatchina. Early 1790s. Pen, ink, brush and watercolor on paper. 62х95 сm. (inv.№ГДМ-1138-XII).
The drawing shows one of the earliest designs for Ingerburg, a free-standing settlement located at the entry to Gatchina on the way from St Petersburg. This project was abandoned and a new design for the fortress was approved (taken from the plan of the Gobelins Manufactory in Paris). The construction of Ingerburg lasted from 1794 to 1801. As a result of alterations made to the plan during the course of its construction, a rampart, a moat, ravelins, and a glacis were never built and only barracks, private and public buildings were built. The Ingerburg barracks were later demolished to make way for buildings built by I.K. Klodnitsky between 1878 and 1891 to accommodate the 23rd artillery brigade.
The drawing shows one of the earliest designs for Ingerburg, a free-standing settlement located at the entry to Gatchina on the way from St Petersburg. This project was abandoned and a new design for the fortress was approved (taken from the plan of the Gobelins Manufactory in Paris). The construction of Ingerburg lasted from 1794 to 1801. As a result of alterations made to the plan during the course of its construction, a rampart, a moat, ravelins, and a glacis were never built and only barracks, private and public buildings were built. The Ingerburg barracks were later demolished to make way for buildings built by I.K. Klodnitsky between 1878 and 1891 to accommodate the 23rd artillery brigade.
A.D. Zakharov. Elevations of the Monastery of St Charalampias,. 1800. Pen and ink, brush and watercolor on paper. 47,4 х 61,5 cm. (inv.№ ГДМ-393-XII).
Andreyan Dmitrievich Zakharov (1761-1811) was a famous architect in St Petersburg who served as an architect in the town administration of Gatchina from 1799 to 1801. In 1800, Zakharov made an unusual design for the Monastery of St Charalampias, which was to be built at the end of the Sylvia Park. The structure was reminiscent of a European medieval monastery, with its massive buttresses and a bell tower on top of the chapel. There was an
image of the Maltese cross on the bell tower and over the doorway. The monastery was probably designed for the knights of the Order of St John of Jerusalem (the Order of Malta). On the 9th of November, 1800, the Emperor Paul I issued a decree ordering the construction of the monastery. The foundations were laid soon after and the building materials began to arrive on the site, but all work came to a halt because of Paul’s death.
Andreyan Dmitrievich Zakharov (1761-1811) was a famous architect in St Petersburg who served as an architect in the town administration of Gatchina from 1799 to 1801. In 1800, Zakharov made an unusual design for the Monastery of St Charalampias, which was to be built at the end of the Sylvia Park. The structure was reminiscent of a European medieval monastery, with its massive buttresses and a bell tower on top of the chapel. There was an
image of the Maltese cross on the bell tower and over the doorway. The monastery was probably designed for the knights of the Order of St John of Jerusalem (the Order of Malta). On the 9th of November, 1800, the Emperor Paul I issued a decree ordering the construction of the monastery. The foundations were laid soon after and the building materials began to arrive on the site, but all work came to a halt because of Paul’s death.