The history of the Palace begins when Grand Duke Mikhail was born.
In 1798 Emperor Paul I ordered to save several hundreds thousands
of roubles to built later a palace for his younger son. The palace
should suit the grandeur and tastes of the Emperor's Family.
The august father did not manage to see the fruition of his plans — in three years his life and reign were tragically cut off by the palace coup. However, the Emperor's will was carried out properly and the sums were being allotted regularly. When Grand Duke Mikhail Pavlovich reached the age of 21 and the sum was 9 millions the construction of the palace was started. On 17 April 1819 Alexander I put a stone ark with silver coins in the basement and laid a silver plate with a memorial inscription.
The palace was designed and built by Carlo Rossi (1775-1849) — a brilliant architect who created the largest Empire architectural ensembles which completed the building-up of the central part of St Petersburg in the 1810s-20s.
The city complex with the Mikhailovsky Palace in the centre is a pearl among creations of the great architect. The architect managed to reach the harmony between the palace building and the landscape and architecture surrounding. The fundamental reshaping of the vast territory, that was only partly built up by wooden greenhouses of the Third Summer Garden near the St Michael's Castle, allowed Rossi to lay the Mikhailovskaya street and to connect the square in front of the Mikhailovsky Palace with the central artery of the city — the Nevsky Prospect. Thus a spectacular view of the main palace façade with a well-shaped elegant eight-columned Corinthian portico was opened.
The opposite façade that overlooks the Mikhailovsky Garden is less known though not less beautiful. It unites a parade solemnity of the palace and chamber park construction, harmonious proportion of all parts and magnificent and a little bit heavy monumentality that reminds us of Carlo Rossi's teacher — the architect Vincenzo Brenna who built the St Michael's Castle.
The sculptural, figurative, plastic, carved and other kind of décor were created by prominent sculptors Vasily Demut-Malinovsky and Stepan Pimenov, painters Pietro and Giovanni Batista Scotti, Antonio Vigi, Barnaba Medici, Fyodor Brullo, masters of plastic Nikita and Sergei Sayegin, carvers Vasily Zakharov and Vasily Bobkov, famous craftsmen Tarasovs (carvers, parquet masters, woodmen) and many others.
Carlo Rossi made detailed plans of everything: from a cast iron grating with his favourite military attributes on the gate to the planning of the park, from the solution of the city building task to draughtsmanship of patterns on glued-laminated parquet in palace premises.
The facade of the main building and the western wing remained almost unchanged. Among the interiors only two may give a complete idea of the architect's gift and his original plan — the main vestibule of the palace and the White Room. These are masterpieces of the classic interior art.
The main vestibule includes a broad front staircase with two flights. It leads to the gallery on the next floor that is decorated by 18 great Corinthian columns.
The august father did not manage to see the fruition of his plans — in three years his life and reign were tragically cut off by the palace coup. However, the Emperor's will was carried out properly and the sums were being allotted regularly. When Grand Duke Mikhail Pavlovich reached the age of 21 and the sum was 9 millions the construction of the palace was started. On 17 April 1819 Alexander I put a stone ark with silver coins in the basement and laid a silver plate with a memorial inscription.
The palace was designed and built by Carlo Rossi (1775-1849) — a brilliant architect who created the largest Empire architectural ensembles which completed the building-up of the central part of St Petersburg in the 1810s-20s.
The city complex with the Mikhailovsky Palace in the centre is a pearl among creations of the great architect. The architect managed to reach the harmony between the palace building and the landscape and architecture surrounding. The fundamental reshaping of the vast territory, that was only partly built up by wooden greenhouses of the Third Summer Garden near the St Michael's Castle, allowed Rossi to lay the Mikhailovskaya street and to connect the square in front of the Mikhailovsky Palace with the central artery of the city — the Nevsky Prospect. Thus a spectacular view of the main palace façade with a well-shaped elegant eight-columned Corinthian portico was opened.
The opposite façade that overlooks the Mikhailovsky Garden is less known though not less beautiful. It unites a parade solemnity of the palace and chamber park construction, harmonious proportion of all parts and magnificent and a little bit heavy monumentality that reminds us of Carlo Rossi's teacher — the architect Vincenzo Brenna who built the St Michael's Castle.
The sculptural, figurative, plastic, carved and other kind of décor were created by prominent sculptors Vasily Demut-Malinovsky and Stepan Pimenov, painters Pietro and Giovanni Batista Scotti, Antonio Vigi, Barnaba Medici, Fyodor Brullo, masters of plastic Nikita and Sergei Sayegin, carvers Vasily Zakharov and Vasily Bobkov, famous craftsmen Tarasovs (carvers, parquet masters, woodmen) and many others.
Carlo Rossi made detailed plans of everything: from a cast iron grating with his favourite military attributes on the gate to the planning of the park, from the solution of the city building task to draughtsmanship of patterns on glued-laminated parquet in palace premises.
The facade of the main building and the western wing remained almost unchanged. Among the interiors only two may give a complete idea of the architect's gift and his original plan — the main vestibule of the palace and the White Room. These are masterpieces of the classic interior art.
The main vestibule includes a broad front staircase with two flights. It leads to the gallery on the next floor that is decorated by 18 great Corinthian columns.
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