Grand Palace. Tsaritsyno Estate

29.09.2019

The history of the creation of the Tsaritsyn estate is associated with the name architect Vasily Bazhenov. This talented architect was unable to fully implement almost any of his grandiose projects. The Tsaritsyno estate was no exception.

Queen's Wrath and Mercy

Vasily Bazhenov was born into the family of a deacon of one of the Moscow court churches. Since childhood, the boy showed talent as an artist and was noticed by the architect Dmitry Ukhtomsky, who took him on as a student. Later he received an excellent education: he was among the first students of the Academy of Arts established in St. Petersburg, and one of the first to be sent by the academy to study in Paris. Upon returning to Russia, he was treated kindly by the empress and began developing his main project - the Kremlin Palace. The project surpassed everything that was created in Europe at that time - both in grandeur and unprecedented courage. A groundbreaking ceremony for the palace took place, a design model was created, but things did not go further than that.

In 1775, the architect was entrusted with the construction of festive pavilions on the Khodynskoye field, where a celebration was to take place on the occasion of the conclusion of the Kuchuk-Kainardzhi peace in the Russian-Turkish war. Catherine II liked the buildings, and soon Bazhenov was entrusted with the construction of the palace ensemble in Tsaritsyn. The young architect was inspired by the idea of creating a new, special architecture, the likes of which Russia had never seen before.

Photo: Press service of Tsaritsyno Park / Dmitry Shchelokov

According to his idea, the Tsaritsyn estate was to become a single complex, in which the empress’s palace was also not the dominant feature. By 1785, the construction of the imperial residence was completed, only the interior decoration remained. Catherine II decided to familiarize herself with the progress of construction and arrived in Moscow. Arriving in Tsaritsyno, she examined the residence and the almost completed palaces and was indignant: the vaults seemed too heavy to her, the rooms too low, the boudoirs too cramped, the staircases too narrow. She decided that it was generally impossible to live in them. Bazhenov was removed from further construction, and the creation of a new project was entrusted to his student, Matvey Kazakov, which especially hurt the architect. There are many versions of why Catherine did not like the palace. According to one of them, the architect’s intrigues and Masonic connections were to blame; according to the other, Bazhenov’s rebellious disposition and the fact that he constantly went beyond the budget.

Photo: Press service of Tsaritsyno Park / Dmitry Shchelokov

Nature of Black Mud

The natural heritage of the estate is one of its most important treasures. It is thanks to him Catherine II this place was chosen to create a residence. The village of Black Mud (as Tsaritsyno was then called) at different times belonged to noble families - the queen Irina Godunova, Streshnev, Golitsyn, Kantemiram. In May 1775, Empress Catherine II visited the Kantemirov estate, was fascinated by the beauty of this place and immediately bought the estate. During construction, Bazhenov did not make major changes to the landscape, but rather, on the contrary, integrated the buildings into the natural environment. When creating the park, he was helped by gardeners from abroad, who were able to create a harmonious park. In one of his letters in 1784, the architect wrote: “In the nine years [since the start of construction of the estate], Tsaritsino has become so decorated with pleasant groves and views of various pictures that there is hardly such a place in England itself.” A cascade of ponds with a dam was created here during Vasily Golitsyn at the end of the 17th century. Under him, an island was created on one of the ponds, which still exists today.

Photo: Press service of Tsaritsyno Park / Dmitry Shchelokov

Tsaritsyn ponds were and remain a favorite place for Moscow fishermen and have long been overgrown with fishing legends. So, Mikhail Pylyaev in the article “Old Moscow” in 1891 he wrote: “In 1886, a large sturgeon with an earring in the lip, released under Catherine II, was caught here by a tenant of the Tsaritsyn ponds.” This is how Mr. Kureshin described this incident in his “Moscow feuilleton”: “When they dragged sturgeon in nets, the tenant was delighted, but then the district overseer intervened in the matter. Bearing in mind the historical significance of the sturgeon, the warden did not allow the tenant to take it, but suggested the following: arrange a special vessel for the sturgeon, assign guards for protection at the expense of the tenant, and store the sturgeon until he, the warden, reports to the specific office, and the office communicates with the palace department, etc., until, in a word, the final order of the highest authorities follows. After thinking, the tenant scratched his head and released the sturgeon in all four directions, and a long protocol was drawn up regarding all of the above, however, no longer than the sturgeon, which was 2 arshins 11 vershoks.”

Photo: Press service of Tsaritsyno Park / Dmitry Shchelokov

Romantic ruins

In the 19th century, the Cossack Grand Palace and Bazhenov’s buildings were rebuilt, destroyed, some were covered with moss and overgrown with bushes. The estate, which had fallen into disrepair, was so beautiful and touchingly sad that legends arose according to which Bazhenov deliberately did not complete the palace for the empress’s grandchildren, so that it would be more convenient for them to climb.

Tsaritsyno Park. Photo: Press service of Tsaritsyno Park / Dmitry Shchelokov

By the 20th century, Tsaritsino had completely fallen into disrepair. The first attempts to turn the estate into a museum appeared in 1960. In the mid-1970s, the first projects were ready, but due to their complexity, the restoration dragged on for years. In the 1990s, restoration work proceeded extremely slowly due to lack of funds. In addition, many did not see the point in completely restoring Tsaritsyno from the ruins: it was impossible to recreate Bazhenov’s plan, and in the ruins themselves they saw a symbol of the romantic era in which the architect lived. However, after the complex was transferred to the ownership of the city in 2005, large-scale restoration work began, and two years later Tsaritsyno was completely reconstructed.

Photo: Press service of Tsaritsyno Park / Dmitry Shchelokov

Today Tsaritsyno is not just a museum-reserve, but a huge cultural center. The building of the large palace displays exhibitions dedicated to the history of the estate, Empress Catherine II, and archaeological finds discovered in the park. Art exhibitions dedicated to both the art of old masters and the latest conceptual movements are held here. Tsaritsyno is the largest concert venue in Moscow; concerts of classical and jazz music are held in the halls of the Grand Palace and the Atrium of the Bread House. The Tsaritsyno Museum-Reserve is a popular children's educational center.

The majestic Grand Palace of the Tsaritsyno Museum-Reserve is the dominant feature of this beautiful palace and park complex, located on the southern outskirts of Moscow. You will learn about its complicated history from this article.

It all started in 1775, when Empress Catherine II, struck by the beauty and “rural” silence of this place, bought the property of Black Mud from the then owners - the sons of the Moldavian ruler Dmitry Cantemir - for 30 thousand rubles. The unpleasant-to-hear name was immediately changed to, which sounded euphonious and in terms of status.

Almost immediately, the architect was entrusted with the arrangement of the new royal residence “in the taste of Gothic.” The architect, in his own way, understood the wishes for the style of construction and designed the buildings in a mixture of forms of Moscow Baroque and ancient Russian architecture. The main materials were white stone and red burnt brick.

On the territory of the park it was planned to erect 5 palace buildings for Catherine and members of her family, as well as all kinds of auxiliary buildings for her retinue, servants and for economic purposes. Not a single building was similar to one another, either in size or geometry. The elegant plan was in exceptional harmony with the then existing landscape, and the Empress gave the go-ahead for its implementation.

Work began in 1776, but progressed with difficulty due to financial difficulties. Bazhenov sometimes even had to mortgage his property and thus get money so that construction would not be suspended.

In 1785, Catherine II arrives with an inspection in Tsaritsyno and even inspects the Main - Grand - Palace. Having expressed displeasure about the prohibitively narrow and cramped rooms, in her opinion, she is leaving her future residence. Almost immediately, Bazhenov was removed from further construction, and his place was taken by his former student -. By order of the Empress, the old buildings are dismantled.

We will not particularly understand the reasons for this behavior of the queen, but some historians see this as her dissatisfaction with Bazhenov’s connections with representatives of the political elite of the Russian Empire at that time. Being a Freemason, he was friends with the head of the Moscow lodge, Nikolai Ivanovich Novikov, who advocated the immediate transfer of power to her son Pavel.

At the beginning of 1786, Kazakov submitted a new project for the Grand Palace to the queen for consideration and received the highest approval. Already in March, work began on dismantling the almost completed three buildings and on June 18, in their place, construction began “according to the newly confirmed plan made by the architect Kazakov.”

Initial Project meant the construction of 3 levels in the palace, excluding the base, high completions, large-scale and square end structures in projection, between which was located a central monumental building with a belvedere on the roof.

Unfortunately, the plan was not realized. As under Bazhenov, the issue came down to finances, which were not allocated at all after the start of the next Russian-Turkish war in 1790, although at first the work proceeded smoothly. Only three years later - in 1793 - work was resumed, but at the request of the empress, the original project was significantly reworked in the direction of reducing costs.

Thus, it was decided to leave only two floors in the Main building of the Grand Palace, which is why the silhouette of the building received a somewhat blurry shape and proportionally poorly connected with the already built side buildings of the chambers of Catherine (on the right) and Tsarevich Paul (on the left). As a result, the central part turned out, among other things, narrow and was, to a greater extent, a passage gallery.

The main visual element of the Grand Palace in Tsaritsyno was the towers located in the corners of the building. It was with their help that the silhouette of the building was given Gothic shapes, although their completion in style is more reminiscent of the towers of the Moscow Kremlin.

At the same time, the appearance of the palace clearly shows signs of the classicist style, which by the last decade of the 18th century began to be widely used in Russian architecture.

Maintained symmetry and three-part fragmentation of the facade plane give the building balance, and thanks to the monumental semi-columns, the corner parts of the towers are visually highlighted. The front entrance is also decorated with a colonnade.

Some decorative elements add some heaviness to the facades: massive sandstones arranged in the end buildings of the loggia, a pointed, “Gothic” arcade of the upper level of the main building. By the way, the pointed arches around the windows have only decorative functions, and the openings themselves, for the most part, have a rectangular shape.

Thus, in contrast to the Bazhenov project, Kazakov managed to give the Great Tsaritsyn Palace truly “sovereign power”, and all this thanks to the greater introduction of classical elements into the decor and some leveling of the Gothic style and the “Moscow Baroque”.

In 1796 the entire structure was covered with a temporary roof of a gloomy black color, which caused a negative reaction from both specialists and ordinary people of that time. Interior finishing has also begun. Everything was heading towards the imminent completion of construction, but...

In the same year, Empress Catherine died and work was practically suspended, and after visiting this place in March 1797, Paul I, who ascended the Russian throne, carried out his command “not to build any buildings in the village of Tsaritsyn.”

So the unfinished Grand Palace stood for more than two centuries, until it was reconstructed at the beginning of the 21st century. True, due to certain innovations in the design of the facades and changes in the decor and layout of the interior, many experts called it not a restoration, but a remake, but it is worth understanding that the former residence was rebuilt not for the residence of important persons, but for the opening of a museum and exhibition complex here . As a result of the work done, interior halls appeared in the palace - “Ekaterininsky” and “Tavrichesky”.

Catherine Hall of the Grand Tsaritsyn Palace

The Catherine Hall, named after Empress Catherine the Great, occupies the first level of the Grand Tsaritsyn Palace, on the right side of the parade march. Particular chic is given to it by the parquet flooring, made from a number of valuable species of trees, and sparkling chandeliers with crystal pendants, casting light on the gilded decor of the walls and ceiling.

The stucco decoration was made by sculptors Rinat Saifutdinov and Vladimir Ageichenko and plays on the theme of “The Triumph of Catherine”. The triptych was created by the artist Evgeny Nikolaevich Maksimov, which depicts the celebrations of the coronation of Catherine II in Moscow, who ascended the throne in 1762. The balcony is decorated with the immortal saying of the Empress “Power without the trust of the people means nothing”, typed in gilded letters.

Another interesting decoration of the Catherine Hall in Tsaritsyno was the sculpture of Catherine, created by the famous master Alexander Mikhailovich Opekushin, an author in Moscow. An interesting story behind this three-ton, 260-centimeter statue, carved from Carrara marble. Since 1896, it was in the meeting room of the City Duma and miraculously was not destroyed by the Bolsheviks who came to power in 1917. It was installed here in 2006.

This is the history of the construction of the Grand Palace in Tsaritsyn.

The majestic building of the Grand Palace occupies the main place in the central part of the Tsaritsyno estate. The fate of the building is very complicated - the palace, the construction of which began more than two hundred years ago, was completed only in 2007. The Grand Palace is the drama and mystery of Tsaritsyno Park.

The unique structure, erected in 1775 by the outstanding architect Bazhenov, was destroyed by order of Catherine II. A tragedy occurred not only for the fate of the great architect and his entire life, but also for the entire history of the complex and Russian architecture.

The new building was rebuilt by the architect Mikhail Kazakov, but he also failed to complete the work. Only in 2007, after a two-year reconstruction, the Tsaritsyn estate appeared before Muscovites and guests of the capital in its elegant, magnificent appearance. This is one of the main park attractions of Moscow, which we recommend to all guests of the capital to visit, especially in the summer.

Grand Palace - brief description

The Grand Palace is interesting because its architecture combines two styles - pseudo-Gothic and classicism. The building consists of two wings, intended for the Empress and her son Paul. From the outside, the central part of the palace looks especially impressive, but you can see that in plan it is only a transition from one wing to another.

The uniqueness of the building is given by the graceful turrets, made in the pseudo-Gothic style. Note the rectangular windows framed by pointed arches, also related to this architectural style.

The red color of the walls with snow-white trim and fabulous turrets make the Tsaritsyn ensemble somewhat similar to the Kremlin Palace.

Due to the extended facades (the length of the building is 68 fathoms, or 146 meters), the building looks fundamental, and the presence of towers and numerous arches give it a powerful and even ponderous appearance.

To view this grandiose structure, you need to enter the arch between the Great Palace and the Bread House. You will see a glass pavilion, entering which you can go down an escalator and enter the lobby of the Grand Palace. There are ticket offices, souvenir kiosks and a buffet here. An exhibition of portraits of figures involved in the fate of Tsaritsyno and the Grand Palace is presented.

Opening hours of the Grand Palace and the Bread House in the Tsaritsyno estate in 2019.

Tuesday - Friday from 11:00 to 18:00
Saturday - from 11:00 to 20:00
Sunday and holidays - from 11:00 to 19:00
Monday - day off
Ticket offices close half an hour earlier

Ticket prices to the Grand Palace and the Bread House of the Tsaritsyno estate in 2019.

Full ticket - 350 rubles
Children from 7 to 17 years old inclusive - 100 rubles
Students of the Russian Federation and the CIS - 100 rubles
Pensioners of the Russian Federation and the CIS - 100 rubles
Children under 6 years old - free
Amateur photography is free without flash and tripod. Photography at temporary exhibitions may be limited

First floor

The halls on the first floor are dedicated to the history of the estate. You will learn how it was built and what the Grand Palace was like at the beginning of the 21st century (in the hall there is a model of the palace before reconstruction).

An interesting exhibition of bronze busts of Russian grand dukes, tsars and emperors. The figures were cast in St. Petersburg in the 19th century at the factory of Felix Chopin.

Also on the ground floor there is a permanent exhibition “The Old and New of Tsaritsyno”. Fragments of the brickwork of the building walls are presented, including part of the first Bazhenov foundation and a fragment of the foundation of the Palace designed by Kazakov.

Having passed the main entrance and the beautiful staircase, we will enter the most luxurious hall of the Palace - Catherine's. A sculpture of the Russian Empress, 2 meters 64 cm high, is installed here.

Painted parquet and mirrors in gilded frames, bronze and onyx trim, marble and gilding, crystal chandeliers and sconces - all this cannot but delight. Here you can admire small details (for example, door handles in the shape of lions' heads) and interesting ceiling designs and parquet patterns.

In the following halls there is a permanent exhibition “Catherine II. The Golden Age of the Russian Empire,” telling about the life and family of the Empress.

Second floor

On the second floor there is a magnificent Tauride Hall, decorated with works of painting and sculpture. On one side of the hall there are busts of prominent people of the era of Catherine II, and on the other - sculptural portraits of members of the imperial family. Here you can take pictures in 18th century costumes.

The following halls display paintings depicting the emperors of the Russian Empire, from Paul I to Nicholas II, as well as tapestries (the exhibition includes both 18th-century tapestries and modern works).

Third floor

There are two halls here - Bazhenovsky and Kazakovsky, used for concerts and conferences. There is also a café for those wishing to have lunch.

-1st floor

On the lowest floor of the building you can see two permanent exhibitions:

“Archaeological Antiquities”, which presents valuable items found during archaeological excavations on the territory of Tsaritsyno
“Silver Pantry”, this exhibition presents silver products made by masters of past centuries.

From the history

The history of Tsaritsyno began with the empress’s great desire to build an estate in a place she liked - in the so-called Black Mud wasteland.

In June 1775, Catherine II, having arrived in Moscow, stopped in Kolomenskoye. Not far from her estate, in the Black Mud wasteland, the estate of Prince Dmitry Cantemir was located. Having visited it, the empress was so delighted with the beauty of the local forests and ponds that she decided to purchase this land.

Catherine called her estate a real paradise. She renamed the wasteland, giving it the name “Tsaritsyno”, and invited the talented architect Vasily Ivanovich Bazhenov to develop it.

Almost 10 years later, the Tsaritsyn complex was basically built. But Catherine criticized many of the buildings and ordered the destruction of almost the entire central part of the estate. The vaults of the Grand Palace seemed to her “too heavy, the rooms too low, the boudoirs too cramped, the staircases too narrow.” A unique complex was destroyed, everything that the author had built with passion and inspiration over the course of 10 years. Bazhenov was removed from work and the most offensive thing was that his student Matvey Kazakov was entrusted with continuing the construction.

There is no clear answer to the question of why this happened. Perhaps because of Bazheny’s Masonic beliefs or his rebellious disposition, or because of repeated requests to increase the construction estimate.

One way or another, Matvey Kazakov began construction again, but he was also not destined to complete the work. There was not enough funding, the queen’s interest quickly faded, and after her death the work stopped altogether, although the building was roofed and only interior work remained to be done.

The new building was not approved by many representatives of high society, considering it gloomy, despite the presence of many decorations. After the construction of the black roof in 1796, the new palace began to be called “the mausoleum over the genius of Bazhenov.”

Over the next two centuries, attempts were made to restore the lost complex, but only in 2005, when the building became the property of the city of Moscow, restoration work began.

In 2007, a large-scale reconstruction was completed and the building housed a museum complex dedicated to the reign of Catherine II.

In addition, the Grand Palace is a venue for concerts and music festivals. There is a Children's Educational Center here, which offers programs for schoolchildren and children from four years of age.

We walked through the wonderful Tsaritsyno park, fed the ducks and admired the magnificent buildings. Today we will continue our walk, but through the halls and exhibitions of the Bread House and the Great Palace. Here you should stock up on comfortable shoes and time to fully enjoy each hall, especially since in addition to the Bread House and the Grand Palace you can visit the Orangery complex, the Opera House and other pavilions.

For visitors, the entrance is through the ground floor, we go downstairs.

Spacious hall with a cafeteria, locker room, shop and cash desk (you can pay by card). General tickets cost us 300 rubles, which is quite cheap for such a huge museum.

In the Tsaritsyno museum store you can purchase the most beautiful gift sets of dishes.

Bread House

The tour begins from the Bread House. According to the project, kitchens were supposed to be located here, but now an organ has been installed here, and concerts are held every Saturday. The organ was installed in 2008 by the German company Glatter-Götz. The peculiarity of this organ is that it is installed on a mobile platform, thanks to which the instrument can be moved around the hall.

Panorama of the concert hall.

Manhole cover with imperial symbols.

Just like the outside, the inside of the Bread House is made of red brick with marble trim.

The first exhibition we attended was the international exhibition of contemporary tapestry. The following countries participated in the exhibition: Russia, Armenia, Belarus, Kazakhstan, Latvia, Lithuania, Estonia, Moldova.

Two canvases from St. Petersburg (on the left “Paradise of Montenegro”, on the right “Golden Rain”)

“Among the Worlds...singer Tatiana Dolgopolova” (Moscow)

Very cute tapestry “Hide and Seek” from Samara.

“The Wanderer” (Moscow).

Some tapestries are made from scraps of fabric with a photograph printed on them.

“Landscape with garlic” (Moscow).

A few more beautiful and colorful tapestries.

Some of the tapestries were simply huge!

And some are crazy!

This tapestry contains yarn and glass.

Objects can move outside the frame.

A wonderful voluminous tapestry reminiscent of a Persian carpet.

Also a voluminous work made from multi-colored rags.

Nizhny Novgorod presented us with “The Cycle of the Season” and “Saint Macarius”

And Kazakhstan - “Defender of the Hearth”, “Warrior of the Wind” and other interesting works.

The exhibition was simply huge and very interesting (different techniques, subjects and forms), but, unfortunately, not permanent. After some time, it will be replaced by another exhibition, probably no less interesting.

View from the window:
On the second floor of the Bread House there is an exhibition of decorative, applied and folk art.

Decorative vessels “Horse” (1974) and “Goat” (1967)

A couple of interesting jugs.

Toy whistles “Dog” and “Pig”.

Figurine “Woman embroidering a banner” (1921), plate “Workers of all countries, unite” (1923).

Sculptures of fairy-tale characters.

Several fashionable rooms with strange decorations and clothes.

I really liked the pomegranate.

Houseware.

This completes the inspection of the Bread House Museum, and you can move on to the Grand Palace.

Grand Palace

The model clearly shows the neglected state of the Grand Palace before its restoration.

Wardrobe from the reign of Catherine II.

Clothes of the early 20th century.

One hall with preserved historical stonework. There is a TV right there and they probably show some tourist groups the history of the Tsaritsyno estate.

Catherine Hall of the Grand Palace of Tsaritsyno

The most luxurious and beautiful Catherine Hall, named after Empress Catherine II.

The walls and ceiling are richly decorated with gilding, and the floor is covered with parquet made from rare trees.

Above the balcony in gold letters is a quote from Catherine II: “Power without the trust of the people means nothing.”

At the head of the hall there is a marble sculpture of Catherine II. The creator of the monument is the very talented Russian sculptor A. M. Opekushin. Initially, the monument was installed in the Duma hall (in 1896). In 1917 it was dismantled and stored in the State Museum of Fine Arts A.S. Pushkin, from where it was transported to Armenia in 1952. Only 50 years later, the marble sculpture returned to Russia and was installed in the restored Tsaritsyno Grand Palace.

Several panoramas of the Catherine Hall. Filming is monitored in the halls; you are not allowed to take pictures in front of the exhibits or shoot videos. While filming the panorama, the caretaker thought that we were filming a video and came up to us with comments.

Having passed through the Catherine Hall, we find ourselves in the next room. There are angels on the doors.

Paintings, furniture, interior items of that era

A very beautiful table with gilding.

Weapon and dish “Russian monarchs from Peter the Great to Alexander I” with the image of Peter I and Catherine II in the center (first quarter of the 19th century).

There was also a room with antique decorations from the late 19th - early 20th centuries. from Kazakhstan.

At the end of the exhibition, several halls with more modern exhibitions awaited us. For example, porcelain dresses.

Thin slices of porcelain are sewn onto the fabric.

As well as a porcelain handbag and lipstick.

The museum amazed us with its size and endless halls, but there was one more place in the Great Palace of Tsaritsyno, which we highly recommend visiting - the Tauride Hall.

Tauride Hall of the Great Palace of Tsaritsyno

The Tauride Hall, like the Catherine Hall, was not originally finished, which is why the current appearance of these two halls is a “conjecture” of the restorers and actually does not carry any historical value. Despite this, the halls are truly luxurious, and it is a pleasure to walk through them and experience the atmosphere of the reign of Catherine II.

The ceiling is decorated with paintings, gilding and three huge chandeliers.

There are valuable wood species on the floor.

At the head of the hall, of course, is a portrait of Catherine II.

In the Tauride Hall there is a dressing room where you can try on clothes of the 19th century and take pictures with your camera. The cost of a 10-minute photo session will cost 200 rubles per person.

This ended our first introductory walk through the palace and park ensemble of Tsaritsyno. I really want to come back here in the summer, look at the dancing fountain and feed the ducks again.

The Tsaritsyno estate is one of the most beautiful and mysterious places in Moscow. Located in the southern part of the capital, the area of the manor park is 550 hectares. The museum-reserve includes a magnificent palace ensemble, a huge landscape park with pavilions and sculptures, picturesque ponds, and an incredibly beautiful light and music fountain.

I come here often because I live nearby, which is why I have a lot of photographs of this amazing place. The story about Tsaritsino had to be divided into several parts:

The palace ensemble of Tsaritsyno was built at the end of the 18th century in the style of pseudo-Russian Gothic by the best architect of that time, Vasily Bazhenov. However, subsequently, due to the empress’s whim, the Grand Palace had to be rebuilt. The new building was erected by Bazhenov’s student, Matvey Kazakov. A bronze monument to famous architects was erected near the walls of the Bread House.

In front of the Grand Palace there are two three-dimensional models that give an idea of Bazhenov’s original plan and what the Tsaritsyno estate looked like after it was rebuilt by Kazakov.

Unusually harmonious and elegant, the Figured Bridge was conceived as a grand entrance from the side of the ponds. This is the very first Bazhenov building here; construction began in May 1776.

Nearby is another passage to the palace ensemble, the Great Bridge over the ravine, decorated with pointed arches and rich patterned compositions.

The Grand Palace, the main building of the architectural complex, immediately attracts the eye. It is very similar to a fairytale castle: elegant decor, towers with spiers, snow-white columns.

The tower spiers are decorated with gold stars.

A gallery with a beautiful spiked arch connects the Great Palace with the Bread House. This photo is the calling card of Tsaritsino. The estate also has another very recognizable building - the Vineyard Gate

The Large Kitchen Outbuilding also received the name “Bread House” because of the images of a loaf and a salt shaker used in the decor of the walls. This building was supposed to house kitchen facilities, storage areas for supplies, and servants' rooms.

Three Cavalry Corps are lined up opposite the Grand Palace. It was assumed that they would have various office premises, ladies-in-waiting and security.

The first building was intended for the empress's retinue. Now the directorate of the reserve museum is located here.

Second Cavalry Corps.

The third building today houses a cultural and educational center.

Between the Cavalry Corps there is a functioning temple in the name of the “Life-Giving Spring” icon of the Mother of God. The church, rebuilt from wood to stone in the mid-18th century, is dedicated to an icon that heals physical ailments.

Not far from the Figurny Bridge, on the edge of a high slope, is the Small Palace, the personal chambers of Catherine the Second. The main decoration of this building is a significant monogram with the letter “E”, a symbol of the estate.

Very close to it there is another beautiful architectural structure - the Opera House. It was supposed to organize musical evenings, receptions and celebrations here. The upper part of the side walls is decorated with double-headed eagles, symbols of Russian autocracy.

Nowadays, the Opera House hosts exhibitions, classical music concerts and marriage registrations.

The estate is very popular among newlyweds; it is an ideal place for a wedding walk.

In the Tauride Hall of the Grand Palace you can arrange a photo shoot in historical costumes from the era of Catherine the Great. Seeing yourself in a new look and taking souvenir photos with your camera costs 250 rubles. Family ticket for four people - 800 rubles.

It is not by chance that the estate bears the name “Tsaritsyno”. The area formerly called « Black Mud » , was renamed at the behest of Catherine the Second, who bought land here for the construction of a country residence. For her idea, the queen chose a wonderful place south of Moscow. The massive construction work took about 10 years, but was never completed. Until 2007, Tsarina’s abandoned properties lay in ruins.

Not long ago, reconstruction was carried out and the estate immediately became very popular - in good weather on weekends there are always a lot of people in the central part. But, since the museum-reserve is very large, there are still places where you can enjoy peace and quiet among beautiful nature.

Secrets of Tsaritsyno

These places keep many secrets. It is known that Bazhenov was a Freemason and the architectural structures he built hide encrypted Masonic symbols.

The mystery of the empress's cold attitude towards construction has not been fully solved. There are only legends and assumptions why Catherine did not like her new residence. According to some sources, she was outraged by the Masonic symbols woven into the pattern of the buildings. According to other sources, the queen really did not like Bazhenov’s buildings because of the low ceilings and cramped rooms.

One way or another, the empress ordered the palace and some buildings to be dismantled and rebuilt. The completion of the construction of Tsaritsyn Village was prevented by the outbreak of war with Turkey; there was not enough money and finishing work was never completed. The construction was abandoned and neither Catherine herself nor other royal persons ever lived here.

Continuation of the story about the estate: .

How to get to the Tsaritsyno estate

By public transport: metro station Tsaritsyno, exit the first car from the center, then along the passage - left to the end. Coming to the surface near the radio market, continue moving in the same direction and in a minute you will see the main entrance to the park. You can also enter the reserve from the Orekhovo metro station.

By car: Moscow, st. Dolskaya, 1. It is more convenient to approach the museum-reserve from Tyurina Street - there are two large parking lots. On weekends in good weather, it is worth arriving early in the morning - there may not be a place in the parking lot. In the evening there are usually no problems with parking.

Coordinates: 55°36’45″N 37°41’1″E