Winter Palace
The exterior form of the palace's architecture , with it's decoration of statuary and stucco work on the pediments above the facades and windows, is Rococo. The exterior of the palace has remained as when it was finished during the reign of Empress Elizabeth. All of the lateral facades that face the palace square and Neva river are hidden behind granite walls that conceal a garden that was created during the reign of Nicholas II. During this time it was conceived as a town palace rather than private property within a park.
The architectural themes continue throughout the interior of the palace as well. The first floor begins with the piano nobile, which is distinguished by the tallest windows in the building. The building has a repetitive monotony with long elevations that are broken only by symmetrically placed bays that all have their own small portico. This theme has been a constant recurrence through rebuilding and alterations. The only change that has occurred to the exterior of the palace was color. Many times throughout history the color has changed but it was originally painted a straw yellow with white and glided ornament. Then under Nicholas I, it was painted a dull red and remained that was through the revolution and the early Soviet period. After World War II and its restoration, it was painted green with white accents, which is known from being the standard Soviet color scheme for building of the time.
Essentially, the palace is a combination of baroque and neoclassical architecture with touches of Rastrelli's rococo interior design. Only the Jourdan staircase and the Grand Church remain their original style. The changes to the interior were mainly due to the influence of the architects that were employed by Catherine the Great, who began to alter much of the interior that was designed by Rastrelli.
The architectural themes continue throughout the interior of the palace as well. The first floor begins with the piano nobile, which is distinguished by the tallest windows in the building. The building has a repetitive monotony with long elevations that are broken only by symmetrically placed bays that all have their own small portico. This theme has been a constant recurrence through rebuilding and alterations. The only change that has occurred to the exterior of the palace was color. Many times throughout history the color has changed but it was originally painted a straw yellow with white and glided ornament. Then under Nicholas I, it was painted a dull red and remained that was through the revolution and the early Soviet period. After World War II and its restoration, it was painted green with white accents, which is known from being the standard Soviet color scheme for building of the time.
Essentially, the palace is a combination of baroque and neoclassical architecture with touches of Rastrelli's rococo interior design. Only the Jourdan staircase and the Grand Church remain their original style. The changes to the interior were mainly due to the influence of the architects that were employed by Catherine the Great, who began to alter much of the interior that was designed by Rastrelli.
Christian's Church
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Christian's Church is one for having a rectangular layout, with the nave occupying the space between the shorter rather than the longer sides of the rectangle, which gives it an exceptional width.
Standing on the granite plinth, the church is a yellow brick building with sandstone finishing for the portal and tower. Some ionic pilasters decorate the proal and the round-arched windows that are tall and slender. The tower standing 70 meters high with a spire addition made in 1769. The tower is positioned at the centre of the northern side which serves as the main facade.
Standing on the granite plinth, the church is a yellow brick building with sandstone finishing for the portal and tower. Some ionic pilasters decorate the proal and the round-arched windows that are tall and slender. The tower standing 70 meters high with a spire addition made in 1769. The tower is positioned at the centre of the northern side which serves as the main facade.
Frederiksdal House
The Frederiksdal House is known for being the earliest examples of maison de plaisance in Denmark. With it's white-dressed masonry and sandstone decorations about the windows and two corner risalits on the main facade. The House was originally designed with a hipped roof but ended with a mansard roof in result to alterations carried out by Johann Gottfried Rosenberg in the mid 1700's.
The interior feature are composed of large and small rooms that are symmetrically arranged around the main axis vestibule and conservatory. The rich stucco decorations, particularly in the Garden Hall, all display rich Rococo architecture.
The interior feature are composed of large and small rooms that are symmetrically arranged around the main axis vestibule and conservatory. The rich stucco decorations, particularly in the Garden Hall, all display rich Rococo architecture.
Stifsgarden
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The palace was built with a focus of Baroque style but has many elements of both Rococo and Neoclassicism. The palace contains 140 rooms totaling in 4000 square meters and is known as being the largest wooden palace in Northern Europe. But in 1906, some of the garden was separated to be a public park, which led to it losing some of its baroque style.
The exterior of the palace has remain in its original form with the exception of the dormer windows being removed in 1841 due to a small fire, but those on the garden side remain in place. And the original quarter pane windows were replaced in 1860. The orchestra annex located by the ballroom was built with the use of King Oscar I's coronation in mind in 1847.
But unlike the exterior, the interior has changed pretty frequently. The interior side wings have been extensively rearranged and all the rooms in the palace have been renovated several times. But even with the remodeling, some of the original features have remained the same. The Rococo style has remained very present through the stucco work that has been preserved on the ceiling and around the wall niches. The panels above the doors are all decorated with painted landscapes and some of the main wall decorations, that included Chinoiseries, were all preserved as well. In the dining room, paintings of cityscapes that are made after contemporary English copper engravings. The ceiling in the ballroom were painted in 1847 by the architect, Heinrich Ernst Schirmer who is famous from working with the interior of the Royal Palace in Oslo. Lastly, the Queen's salon was designed from the use of the coronation in 1906 by architect Ingvald Alstad.
The exterior of the palace has remain in its original form with the exception of the dormer windows being removed in 1841 due to a small fire, but those on the garden side remain in place. And the original quarter pane windows were replaced in 1860. The orchestra annex located by the ballroom was built with the use of King Oscar I's coronation in mind in 1847.
But unlike the exterior, the interior has changed pretty frequently. The interior side wings have been extensively rearranged and all the rooms in the palace have been renovated several times. But even with the remodeling, some of the original features have remained the same. The Rococo style has remained very present through the stucco work that has been preserved on the ceiling and around the wall niches. The panels above the doors are all decorated with painted landscapes and some of the main wall decorations, that included Chinoiseries, were all preserved as well. In the dining room, paintings of cityscapes that are made after contemporary English copper engravings. The ceiling in the ballroom were painted in 1847 by the architect, Heinrich Ernst Schirmer who is famous from working with the interior of the Royal Palace in Oslo. Lastly, the Queen's salon was designed from the use of the coronation in 1906 by architect Ingvald Alstad.