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The Pantry

The Kitchen adjoins a small room without any decor, where, in former times, tableware and linen were kept. The single-tone decor of the walls is enlivened by multicoloured vessels. Hanging on the walls are mid-seventeenth-century porcelain Chinese dishes decorated in cobalt blue, and next to them, faїence plates produced a century later at Delft and Frankfurt-am-Main in imitation of Oriental wares. Set on the shelves of the dresser are Japanese and Chinese plates with bright painted decoration, bottles, goblets and wine-glasses of Russian and Western European work. Of particular interest are flasks of dark brown glass intended for mineral water which, as legend has it, were brought by Peter the Great from Spa in Flanders, where he underwent treatment. The dark bottles inscribed Danzig and London on their seals also belonged to the Emperor. They were used for wine, and the seals indicated the country where the wine was produced. The furniture in the Pantry - the sideboard, the wash-stand, the dresser and the carved sgabello chairs - is characteristic of Peter's palaces and was marked by heavy forms and simplicity of design.

The Entrance Hall

This is the largest room in the palace, with a stone floor and a fireplace in the north-western corner. In past times, the main entrance to the palace was from the Marly Pond and led to this room, the vestibule, which was intended by Peter the Great as a formal Entrance Hall. According to the initial project, it was supposed to embellish the ceiling with an ornament and to pane the entrance door with "Yamburg glass for viewing perspectives". But the concept changed and the ceiling was left smooth. Only the coving was decorated with fine moulding. Small two-colour reliefs depicting seaside towns and harbours were placed between the companion brackets. In the course of the postwar restoration, however, the reliefs were not reconstructed and their place is merely indicated by a colour.

In the nineteenth century the vestibule became known as the Entrance Hall or Anteroom. Its furnishing was very simple - a number of chairs and a large table. Today, the Entrance Hall is decorated with marquetry furniture which was produced by Dutch masters in the first half of the eighteenth century.

The decor of the room is supplemented by works of painting which invariably were an important feature of Peter the Great's palatial interiors. He purchased pictures for his future palaces himself at sales in Amsterdam or ordered them through his agents in Holland and Italy. Jacob Stahlin, Academician of the Russian Academy of Sciences, left a record of the Marly collection of painting in 1738-39. The palace housed then 45 paintings by Dutch, Flemish, Italian and German artists. Some of the canvases were taken away from Marly in the eighteenth century, others were destroyed by a fire in 1901 and five were stolen by the Nazi soldiers during the Second World War. The present-day collection includes about thirty paintings from the initial display. Six of them are in the Entrance Hall: two companion paintings Herdsmen and a Herd by Philipp Peter Roos (1655/1657-1705), a German artist who lived in Italy; two still lifes with fruit by an unknown Dutch artist and twin portraits of an old man and an old woman by the Italian painter Pietro Belotto (1627-1700).

Although the two other paintings on the western wall have been transferred to Marly quite recently, after the Second World War, they were among Peter's purchases for the Summer Palace in St Petersburg. Both paintings are devoted to Biblical subjects. One is Christ Preaching in the Temple by the Italian artist Tiziano Vecellio, called Il Tizianello (1570-1650), and the other Christ and the Adulteress by another Italian, Andrea Celesti (1637-1706).

The Pantry.

The Entrance Hall.

The Entrance Hall.
Longcase clock.
By Willem Coster. Holland.
First half of the 18th century.

The Pantry.
Flasks and a bottle. Russia.
First quarter of th 18th century.

The Entrance Hall.
Andrea Celesti.
"Christ and the Adulteress".

The Entrance Hall.
A collection of enamels.
China. First half of the 18th century.
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Artistic director - Valery Gergiev (Mariinky (Kirov) Opera and Ballet)

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