Built in the early 18th century by Peter I (the Great) to rival France's Versailles, the work on Peterhof Palace commenced in 1714 with the palace officially opening in August 1823. It was to become a favourite home of the tsars who added to it over the years. The Palace was significantly altered and expanded between 1745 – 55 by Peters daughter the Empress Elizabeth, to the design of the Italian architect Francesco Bartolomeo Rastrelli, who added an additional floor, with many lavishly decorated state rooms.
The Peterhof Palace was built in the early 18th century by Tsar Peter I (the Great) to rival France's Versailles and is often referred to as the "Russian Versailles". Situated 29 km from St Petersburg the location was ideal as it enabled Peter ease of access to Europe from the Kronstadt naval base - which was situated on an island off the coast - and also to St Petersburg, it was also to provide a suitable place to enable the provision of Kronstadt.
The first building on the site was started in 1714; this was the Monplaisir Palace, which was to become Peter’s summer palace. Peter played a major part in the design of Monplaisir and the other initial buildings and fountains. Constructed in grounds that cover more than six hundred hectares (1,482 acres) it was eventually to contain thirty palaces and pavilions.
To facilitate construction a grand canal was dug between the main palace and the sea in order that building materials could be transported easily to the site by water from Western Europe in order to provide the thousands of workers. Peter wished to complete the construction in a short period of time and the main palace was completed in 1721. On August 14, 1723, Peterhof officially opened and was to become one of the favourite residences of the tsars, several of whom were to add to it over the years.
The architecture of Peterhof Palace is a stunning example of Baroque grandeur, characterized by its intricate details, symmetry, and opulence. The main palace, known as the Grand Palace, was designed by several architects over the years, including Jean-Baptiste Le Blond and Bartolomeo Rastrelli, who also worked on the Winter Palace in Saint Petersburg. Built between 1714 and 1721, originally it was of similar size to the other buildings and was known simply as the Upper Palace.
The Palace was significantly altered and expanded between 1745 – 55 by Peters daughter the Empress Elizabeth, to the design of the Italian architect Francesco Bartolomeo Rastrelli, who added an additional floor, a new palace wing and a small domed church. The interior was remodelled in a baroque style, although Peter’s study room was left intact. The decoration to the Grand cascade and the development of the complex also progressed under Elizabeth and during the reign of Catherine II (the Great).
The exterior architecture exemplifies opulence and elegance. It features a dazzling facade with large arched windows and decorative columns, creating a sense of openness and majesty. The intricate mouldings, gilded accents and ornamental motifs on the walls add to its lavish appearance.
One of the most iconic features of the exterior is the gilded domes of the palace's pavilions, which gleam brilliantly in the sunlight.
Internally, the Palace contains a number of opulent state rooms lavishly decorated with ornate stucco work, gilded mouldings, and beautiful frescoes: Some of which are included here. These are located on the first floor (Second Floor for American readers) reached by two memorial staircases.
The Ceremonial staircase served a specific function for formal entrances and events. It was used for ceremonial purposes to impress guests during special occasions.
The Grand staircase produced by Bartolomeo Rastrelli in 1751 is a masterpiece of Late Baroque architecture decorated with gilded statues, carved bouquets, caryatids, and rocaille cartouches, all in the Rococo style. This leads to the enfilade of state rooms and is a symbol of opulence and grandeur
The spacious Ballroom with the windows and mirrors on either side of the room creates the illusion of an even larger hall.
The architectural details of the Ballroom showcase both the Baroque and Rococo styles. The design emphasises symmetry, opulence, and artistry, ensuring every element contributes to the grandeur of the space.
Large chandeliers serve as the centrepiece of the Ballroom's lighting. They are crafted from crystal and glass and are designed to refract the light.
The flooring is of parquet made from a combination of fine woods. The geometric and floral designs complement the room's overall aesthetic.
The walls are adorned with gilded stucco mouldings and delicate floral patterns. These intricate details highlight the craftsmanship of the time and the commitment to elegance. Large windows allow natural light to enter the room during the day, and highlight the room's splendour. Mirrors are strategically placed along the walls to amplify the light and give the illusion of a larger space. They also reflect the gilded decor and the movement of guests during events, adding a sense of dynamism. The architectural details are meticulously designed to create a harmonious and awe-inspiring space for grand social events. The Ballroom served as both a functional venue and a symbol of the imperial court's wealth and cultural refinement.
Adjoining the Ballroom is the Chesma Hall is a waiting room where officials would wait for the start of their reception. The hall is named after the Russian naval victory at the Battle of Chesme in 1770, the first of a number of navel defeats for the Ottoman Empire by Russia. The hall contains wall paintings depicting the naval battle and is one of the stunning rooms in the Palace. Paintings by the German painter Jacob Hackert are the main decoration and they depict episodes of the Chesma battle in which Russian fleet headed by count Alexei Orlov defeated the Turkish fleet. The hall reflects the historical event, with walls adorned by paintings and decorations that celebrate the victory, making it a symbol of Russian maritime power.
The room's design is in the Baroque style, with intricate gilding, ornate mouldings, and luxurious furnishings that create an atmosphere of opulence. The hall was not only a tribute to a significant military victory but also a space used for receptions and gatherings, where its decor would leave a lasting impression on guests. It stands as a testament to the artistic and architectural brilliance of the era.
On one side of the Chesme Hall is the Blue Reception Room also known as the Blue Sitting Room. It served a dual purpose as a more relaxed sitting space for informal gatherings and a reception area for official guests, such as foreign ambassadors and dignitaries. It provided a testament to the empire's wealth, power, and cultural sophistication.
Its name comes from the dominant blue hues coming from the rich silk-covered walls, which were a symbol of luxury during the Russian imperial era. These walls create a striking contrast with the gilded accents that frame the room's architectural elements, like doorways, mirrors, and mouldings.
A key feature of this room is its attention to symmetry and balance, which was characteristic of Baroque interior design. Large windows allow natural light into the room, enhancing the brilliance of its golden details and the blue walls. The furniture, often arranged to show formal gatherings, features intricate carvings and plush upholstery that matches the room's colour palette.
The chandeliers are crafted to reflect light across the space. Fine porcelain pieces, clocks, and other decorative items adorn the room, showcasing the artistry and wealth of the time.
On the other side is the Throne Room, the largest room in the Palace (300 square metres) with its portraits of the Romanovs, it embodies the authority and grandeur of the Russian imperial court. This room was used for important ceremonies, receptions, and audiences,
The walls are richly decorated with gilded mouldings, intricate carvings, and opulent fabric. These elements create a regal and awe-inspiring atmosphere. The large crystal chandeliers illuminate the room, adding a sense of splendour and enhancing the reflective surfaces of mirrors and gilding.
The throne itself is elevated on a platform and surrounded by rich draperies, it served as the focal point and is crafted with gold detailing and upholstered in luxurious fabrics to reflect the power of the monarchy.
The person on the horse behind the throne is Catherine the Great. The portrait, painted in 1762 by Vigilius Eriksen, recounts an episode during the coup against her husband, Tsar Peter III, when he was deposed and she took power.
Passing through the Throne Room is the Audience Hall, this was designed to convey grandeur and elegance. One of its notable features is the lavish use of gilding, which was a hallmark of Bartolomeo Rastrelli's work during the Russian Baroque period. The walls are adorned with intricate golden patterns that catch the light and create a dazzling effect, making the Hall feel both majestic and inviting.
The hall is also notable for its ceiling frescoes, which depict mythological scenes surrounded by ornate stucco decorations. These frescoes add a sense of depth and storytelling to the space. Large crystal chandeliers hang from the ceiling.
Intended for the use of the Empress Elizabeth for official receptions and meetings with diplomats and high-ranking officials, the Audience Hall was a space which demonstrated the wealth and power of the Russian Empire. The Audience Hall hosted some of the most important and formal events of the Russian imperial court. It was the setting for grand receptions where the emperor or empress would meet foreign ambassadors, with every element of the hall being carefully designed to leave a lasting impression.
An Adjacent room is the White Dining Room which showcases the sophistication of the Russian imperial court. This room was primarily used for formal dinners or smaller, intimate gatherings, offering a balance between opulence and comfort. The centrepiece of the room is the dining table, often surrounded by chairs upholstered in white or light-coloured fabrics. The dining table would be adorned with exquisite china, crystal glassware, and ornate silverware, emphasizing the luxury associated with imperial dining. The furniture is intricately detailed, reflecting the artistry of the era. The White Dining Room exemplifies the imperial court's attention to detail, where every element contributes to an ambiance of exclusivity and grace. It was not just a place to dine but also a setting for important conversations and moments of connection.
The White Dining Room played a significant role in the life of the Russian imperial court radiating elegance and refinement expected in royal settings. This room served as the backdrop for smaller, more private gatherings, such as family meals, meetings with select guests, or even informal discussions among members of the court.
The Partridge Reception Room is so named due to the partridge motifs incorporated into its decor. These motifs were elegantly woven into the design elements of the room, including the walls, furnishings, and some of the ornamental detailing. Partridges are often associated with grace and refinement, making them a fitting symbol for such a lavish and regal space. This room was primarily used for formal receptions and gatherings, reflecting the opulence and sophistication of the era. This decorative theme was part of the broader Baroque style that defined the Grand Peterhof Palace, emphasising opulence and artistic detail.
Also of note in that area is the Portrait Hall which showcases much of Russian imperial history. It contains portraits of Russian royalty and nobility, and notable figures of the time.
Ceremonial halls are followed by the rooms of the private half, which was accessible only to a circle of confidants. It housed bedrooms, private offices and salons.
The Oak Study of Peter the Great reflects Peter's personality and preferences. The room is panelled entirely in oak, giving it a warm and stately ambiance. It served as a private workspace for Peter, where he could focus on administrative tasks that he had for modernising Russia.
The study is relatively modest compared to the grandeur of the rest of the palace, emphasising Peter's practical nature. It contains personal items and artifacts that belonged to him, offering a glimpse into his daily life and work habits. The room's design and furnishings reflect the early 18th-century style, blending functionality with elegance.
The Empress's Study is a beautifully designed room that reflects the elegance and sophistication of the Russian imperial court. This study was used by the empress as a private space for reading, writing, and managing personal correspondence. The room is adorned with intricate decorations, luxurious furnishings, and exquisite artwork, showcasing the opulence of the palace. Designed with the empress’s preferences in mind, the room included fine porcelain. This study not only served as a workspace but also as a retreat for contemplation and leisure. Its design was typically more intimate than the grandiose public spaces of the palace, reflecting the personal tastes and individuality of the empress who used it.
The State Bedroom, also known as the Crown Room, was designed to showcase the grandeur and luxury of the Russian imperial court. It features lavish decorations, including gilded details, intricate carvings, and rich fabrics, all of which reflect the Rococo style that was popular at the time. The room was used for ceremonial purposes rather than as a functional bedroom. It symbolized the power and prestige of the monarchy, with its design emphasizing elegance and splendour.
The Palace is however, most famous for its large selection of fountains. The greatest being the Grand Cascade, completed in 1724. This consists of a large cascade which runs from the foot of the Great Palace to a long canal that leads to the Gulf of Finland. The cascade consists of 39 gilded bronze statues, 64 water jets and 75 fountains.
On a terrace at the top of the cascade is a pair of Tritons and a number of gilded sculptures. The centrepiece of the Grand Cascade is the Samson Fountain, which shows Samson opening the jaws of a lion out of which is a vertical jet of water shooting 20 metres into the air. The statue symbolized Russia's victory over Sweden at the Battle of Poltava (1709) in the Great Northern War.
At the centre of the cascade is an artificial grotto connected to the palace by a hidden corridor. The grotto is constructed in brown stone and it contains artefacts of the fountains' history. This includes a table and bowl of artificial fruit which soak visitors when they reach for the fruit. A number of fountains are designed to catch the unsuspecting visitor who are wet when they approach a fountain or when they are within its reach.
All of the fountains operate without the use of pumps. Water is supplied from natural springs nearby and collects in reservoirs in the Upper Gardens. It is the elevation difference and not pumps that creates the pressure to work the fountains of the Lower Gardens, including the Grand Cascade. The Samson Fountain is supplied by a special aqueduct, over four km in length, which draws water and pressure from a source at a higher elevation.
The grounds of Peterhof are divided into three separate parks; it includes the upper, lower and the Alexandria Park.
Around the park are numerous buildings, statues and fountains.
By the sea front stands the Monplaisir Palace, this is at the centre of a small park which consists of six differently themed gardens. The dragon waterfall nearby is named after the three statues of dragons that spout water onto a checkerboard patterned sloping plane. Along from the Monplaisir Palace is the Hermitage Pavilion, a small building with a white façade. Nearby is the Orangery, built to protect plants and flowers from inclement weather. Also to be seen are the Olga Pavilion built in 1846 on a small island and Tsarina’s Pavilion both of which are open to the public.
In 1918 Peterhof became a museum although during World War II it was occupied by the German troops and suffered severe damage and was destroyed by fire. The reconstruction began almost immediately after the war and continues to this day.
Today the palace contains about three and a half thousand exhibits, including paintings, porcelain, fabrics, unique furniture and personal belongings of the Russian rulers.
In 1990 Peterhof became a UNESCO World Heritage Site which attracts visitors from around the world, offering a glimpse into the grandeur of imperial Russia.
To see more photographs and take a virtual tour of the site click on the photoshow below.
