The Summer Palaces

The Summer Palaces

A visit to this region takes you through a lavish trail of evidence of the Imperial spirit. These majestic old palaces, estates, and former nobles' residences—all set on lovingly tended grounds—are within easy reach of St. Petersburg.

Lomonosov (Oranienbaum)

This was the property of Alexander Menshikov (circa 1672-1729), the first governor of St. Petersburg and Peter the Great's favorite, who, following Peter's example, in 1710 began building his own luxurious summer residence on the shores of the Baltic Sea. Before construction was complete, however, Peter died and Menshikov was stripped of his formidable political power and exiled, leaving his summer estate half finished. The palace reverted to the crown and was given to Peter III, the ill-fated husband of Catherine the Great. Most of the buildings on the grounds were erected during his six-month reign, in 1762, or completed later by Catherine.

Many suburbs of St. Petersburg had names of German origin and this property was given the German name Oranienbaum after the orangery attached to its palace. During World War II, Stalin was understandably irritated by the many Germanic names. A few years after the liberation of Leningrad, Oranienbaum was renamed for the 18th-century scientist Mikhail Lomonosov, who had conducted a number of experiments at his nearby estate. Oranienbaum was the only imperial residence to have survived World War II entirely intact.

Menshikov's Great Palace (Bolshoi Menshikovskii Dvorets), the original palace on the property, is also Lomonosov's biggest. It stands on a terrace overlooking the sea. Built between 1710 and 1725, it was designed by the same architects who built Menshikov's grand mansion on St. Petersburg's Vasilievsky Island, Giovanni Fontana and Gottfried Schaedel. Currently closed to the public, the Great Palace is in need of renovation, but you can see its decaying interiors when visiting the palace's annually changing exhibits on everything from the Orthodox church in St. Petersburg to Japanese artwork. Nearby is Peterstadt Dvorets, the modest palace that Peter III used, a two-story stone mansion built between 1756 and 1762 by Arnoldo Rinaldi. Its interior is decorated with handsome lacquered wood paintings. That it seems small, gloomy, and isolated is perhaps appropriate, as it was here, in 1762, that the tsar was arrested, then taken to Ropsha and murdered in the wake of the coup that placed his wife, Catherine the Great, on the throne.

The building that most proclaims the estate's Imperial beginnings, however, is unquestionably Catherine's Chinese Palace (Kitaisky Dvorets) also designed by Rinaldi. Intended as one of her private summer residences, it is quite an affair—rococo inside, baroque outside. Lavishly decorated, it has ceiling paintings created by Venetian artists, inlaid-wood floors, and elaborate stucco walls. The small house outside served as the kitchen. Down the slope to the east of the Great Palace is the curious Katalnaya Gorka. All that remains of the slide, which was originally several stories high, is the pavilion that served as the starting point of the ride, where guests of the empress could catch their breath before tobogganing down again. Painted soft blue with white trim, the fanciful, dazzling pavilion looks like a frosted birthday cake; it was, however, closed for extensive renovations at this writing. Also on the premises, near the pond, is a small amusement park offering carnival rides. When taking a commuter train here, be careful to exit at Oranienbaum-I (not II).

48 ul. Yunovo Lenintsa. 812/422-4796. Exhibition at Menshikov's Great Palace 185R; Chinese Palace 370R; Peterstadt Dvorets 260R; Oriental exhibition at Japanese pavilion 185R. Estate Wed.-Sun. 11-5, Mon. 11-4; Chinese Palace late May-late Sept., Wed.-Mon. 11-5. Some buildings are closed on Mon. Estate closed last Mon. of month.

Peterhof (Petrodvorets)

Visiting Peterhof and other Imperial palaces nearby, you may find it difficult to believe that when the Germans were finally driven out of the area toward the end of World War II, almost everything was in ruins. Many priceless objects had been removed to safety before the Germans advanced, but a great deal had to be left behind and was consequently looted by the invaders. Now, after decades of painstaking work, art historians and craftspeople, referring to photographs and records of descriptions, have returned the palaces to their former splendor. Peterhof and its neighboring palaces are so vast, however, that renovation work will be ongoing for many years to come.

The complex of gardens and residences at Peterhof was masterminded by Peter the Great, who personally drew up the original plans, starting around 1720. His motivation was twofold. First, he was proud of the capital city he was creating and wanted its evolving Imperial grandeur showcased with a proper summer palace. Second, he became attached to this spot while erecting the naval fortress of Kronshtadt on a nearby island across the Gulf of Finland; because it lay in easy view, he often stayed here during the fort's construction. When the fort was finished, by which time he had had a series of naval victories (including the Northern War against the Swedes), he threw himself into establishing many parts of the grounds that would be called Peterhof (Peter's Court), a German name that was changed to Petrodvorets after World War II.

If you travel by hydrofoil, you'll arrive at the pier of the Lower Park, from which you work your way up to the Great Palace. If you arrive by land, you'll simply go through the process in reverse. Either way, the perspective always emphasizes the mightiness of water. Half-encircled by the sea, filled with fountains and other water monuments, and with the Marine Canal running straight from the foot of the palace into the bay, Peter's palace was also intended as a loving tribute to the role of water in the life, and strength, of his city. The Lower Park was designed as a formal baroque garden in the French style, adorned with statues, fountains, and cascades. Peter's playful spirit is still very much in evidence here. The fun-loving tsar installed "trick fountains"—hidden water sprays built into trees and tiny plazas and brought to life by stepping on a certain stone or moving a lever, much to the surprise of the unsuspecting visitor and the delight of the squealing children who love to race through the resulting showers on hot summer days.

Located in the eastern half of Lower Park is the oldest building at Peterhof, Monplaisir (literally "My Pleasure"), completed in 1721. This is where Peter the Great lived while overseeing construction of the main Imperial residence. As was typical with Peter, he greatly preferred this modest Dutch-style villa to his later, more extravagant living quarters. The house is open to the public and makes for a pleasant tour. Some of its most interesting rooms are the Lacquered Study, decorated with replicas of panels painted in the Chinese style (the originals were destroyed during World War II); Peter's Naval Study; and his bedroom, where some personal effects, such as his nightcap and a quilt made by his wife, are on display. Attached to Peter's villa is the so-called Catherine Wing, built by Rastrelli in the mid-18th century in an utterly different style. The future Catherine the Great was staying here at the time of the coup that overthrew her husband and placed her on the throne; the space was later used mainly for balls.

In the western section of the Lower Park is another famous structure, the Hermitage, built in 1725. It claims to be the first of the great Imperial hermitages (the most famous, of course, still stands in St. Petersburg), or retreats, in Russia. This two-story pavilion gives new meaning to the concept of a movable feast. The building, which was used primarily as a banqueting hall for special guests, was at one time equipped with a device that would hoist the dining table area—diners and all—from the ground floor to the private dining room above. A slightly different system was put in place after Tsar Paul I's chair broke during one such exercise. The center part of the table could be lifted out, and guests would write down their dinner preferences and then signal for their notes to be lifted away. Shortly thereafter, the separated section would be lowered, complete with the meals everyone had ordered. The only way to the Hermitage was over a drawbridge, so privacy was ensured.

Almost adjacent to the Hermitage is the Marly Palace, a modest Peter the Great construction that is more of a country retreat than a palace. As with Monplaisir, it's mostly Petrine memorabilia on display here. The four ponds around the back are where Catherine the Great used to stock fish.

A walk up the path through the center of the Lower Park (along the Marine Canal) leads you to the famous Great Cascade (Bolshoi Kaskad). Running down the steep ridge separating the Lower Park and the Great Palace towering above, the cascade comprises three waterfalls, 64 fountains, and 37 gilt statues. The system of waterworks has remained virtually unchanged since 1721. The ducts and pipes convey water over a distance of some 20 km (12 mi). The centerpiece of the waterfalls is a gilt Samson rending the jaws of a lion, out of which a jet of water spurts into the air. The statue represents the 1709 Russian victory over the Swedes at Poltava on St. Samson's day. The present figure is a meticulous replica of the original, which was carried away by the Germans during World War II. A small entrance halfway up the right-hand staircase (as you look at the palace above) leads to the grotto, where you can step out onto a terrace to get a bit closer to Samson before going inside to have a look under the waterworks.

Crowning the ridge above the cascade is the magnificent Bolshoi Dvorets. Little remains of Peter's original two-story house, built between 1714 and 1725 under the architects Leblond, Braunstein, and Machetti. The building was considerably altered and enlarged by Peter's daughter, Elizabeth. She entrusted the reconstruction to her favorite architect, Bartolomeo Rastrelli, who transformed the modest residence into a sumptuous blend of medieval architecture and Russian baroque. Before you begin your tour of the palace interiors, pause for a moment to enjoy the breathtaking view from the marble terrace. From here a full view of the grounds below unfolds, stretching from the cascades to the Gulf of Finland and on to the city horizon on the shore beyond.

As for the main palace building, the lavish interiors are primarily the work of Rastrelli, although several of the rooms were redesigned during the reign of Catherine the Great to accord with classicism, the prevailing architectural style of her day. Of Peter's original design, only his Oak Study Room (Dubovy Kabinet) survived the numerous reconstructions. The fine oak panels (some are originals) lining the walls were designed by the French sculptor Pineau. The entire room and all its furnishings are of wood, with the exception of the white-marble fireplace, above whose mantel hangs a long mirror framed in carved oak.

One of the largest rooms in the palace is the Throne Room (Tronny Zal), which takes up the entire width of the building. Classically designed, this majestic room—once the scene of great receptions and official ceremonies—has exquisite parquet floors, elaborate stucco ceiling moldings, and dazzling chandeliers. The pale-green and dark-red decor is bathed in light, which pours in through two tiers of windows (28 in all) taking up the long sides of the room. Behind Peter the Great's throne at the eastern end of the room hangs a huge portrait of Catherine the Great. The empress, the epitome of confidence after her successful coup, is shown astride a horse, dressed in the uniform of the guard regiment that supported her bid for power.

Next to the Throne Room is the Chesma Hall (Chesmensky Zal), whose interior is dedicated entirely to the Russian naval victory over the Turks in 1770. The walls are covered with 12 huge canvases depicting the battles; they were created by the German painter Phillip Hackert at Empress Catherine's behest. According to legend, the artist explained that he could not paint a burning ship, since he had never seen one. Catherine arranged to have ships blown up for him to use as models. Such were the privileges of divine right. Arguably the most dazzling of the rooms is the Audience Hall (Audients Zal). Rastrelli created the definitive baroque interior with this glittering room of white, red, and gold. Gilt baroque bas-reliefs adorn the stark white walls, along which tall mirrors hang, further reflecting the richness of the decor.

Other notable rooms include the Chinese Study Rooms (Kitaiskye Kabinety), designed by Vallin de la Mothe in the 1760s. Following the European fashion of the time, the rooms are ornately decorated with Chinese motifs. Finely carved black-lacquered panels depict various Chinese scenes. Between the two rooms of the study is the Picture Hall (Kartinny Zal), whose walls are paneled with 368 oil paintings by the Italian artist Rotari. The artist used just eight models for these paintings depicting young women in national dress.

Following a tour of the palace interiors (they are offered regularly in English), a stroll through the Upper Park, on the south side of the palace, is in order. This symmetrical formal garden is far less imaginative than the Lower Park, with its playful fountains and cascading waterfalls. Its focal point is the Neptune Fountain, made in Germany in the 17th century and bought by Paul I in 1782. During the war this three-tiered group of bronze sculptures was carried away by the Germans, and eventually recovered and reinstalled in 1956.

You can reach the palace by commuter train from St. Petersburg but, minimal fog permitting, the best way to go is by hydrofoil (June-September only), from which your first view is the panorama of the grand palace overlooking the sea. The lines to get into the palace can be excruciatingly long in summer, and sometimes guided tours get preferential treatment. The ticket office for foreigners is inside the palace, which means admission is more expensive than it is for Russians but the lines are significantly shorter. Some park pavilions are closed Wednesday and others on Thursday; visiting on the weekend is the best chance to see everything.

An integral part of visiting any museum-palace in Russia is encountering the autocratic babushki (a colloquial term for museum caretakers, often hearty grandmothers). In this, Peterhof is no exception. No matter how irksome, they deserve respect, for many survived the 900-day siege of Leningrad, witnessed the palaces' destruction, and saw them rise again, almost miraculously, from the ashes. As you enter the palace, you'll be given tattered shoe covers to wear, so as to protect the highly polished floors of the splendid halls. One cautionary note: on most occasions, flash photography is not allowed, although for a fee, fast film and videotape may be used. Sometimes the babushki aren't aware of the difference. So hang on tight to your equipment to avoid having it confiscated by an overzealous custodian of Peter's treasures.

2 ul. Razvodnaya. 812/427-9527. www.peterhof.org. Palace 430R; 300R; separate admission fees (100R-150R) for park pavilions. Great Palace Tues.-Sun. 10:30-5; some park pavilions are closed Wed. and others on Thurs.; closed last Tues. of month.

Where to Eat

Imperatorsky Stol. The best option on the grounds of the palace itself is in the palace's old oranzhereya, or garden house. A comfortable, quaint spot for a snack and cup of tea, it also serves full meals of Continental cuisine featuring various kinds of fish and meat, including venison and duck courses. Traditional Russian borscht (beet soup) or solyanka (slightly spicy meat soup with pickles) are also very popular. The restaurant is open from 10 to 6. Peterhof palace grounds, near Triton fountain. 812/427-9106. MC, V. Closed early Oct.-Apr.

Konstantine Palace

Once one of the most neglected jewels in the dazzling necklace of St. Petersburg's historical suburbs, the Konstantine Palace (Konstantinovsky Dvorets), which was nearly destroyed in World War II, has been restored to its original splendor. After years of renovation, based on old photographs and plans, the Italian-baroque, coffee-color palace and grounds reopened in 2003. It's now officially the Palace of Congress, used to host government functions, such as the Russia-EU Summit.

Proudly waving the Russian flag, the castle stands on a hill surrounded by vast green lawns, ponds, and lime trees. Its northern facade overlooks the windy Gulf of Finland, which is connected to the palace by canals with drawbridges and fountains. In 1720 Peter the Great commissioned work on this maritime country residence that was to be a "Russian Versailles." Italian architect Nicolo Micketti designed not only the palace, but also beautiful fountains and waterworks meant to draw water from the Gulf of Finland. However, the fountains never worked, and the palace itself underwent several fires, was redesigned, and had its name changed from Big Strelna Palace to Konstantine Palace. (Although at different periods the palace belonged to at least three members of the Russian royalty bearing the name Konstantine, it was not renamed until the 19th century, when Tsar Nicholas I presented the palace to his four-year-old son, Konstantine.)

The palace offers three different tours. One is a regular, 90-minute excursion to the eastern, historical part of the palace and includes narration about the tsar's family and its members who used to live here. The "VIP" tour covers the western part of the palace, which is used for official occasions and summits. You'll also see a part of the Russian president's apartments and the boudoir of the first lady. The third tour is a 90-minute amble through the vast park, which frankly doesn't have as many attractive sights as the parks of Peterhof and Pushkin. Join this one only in summer or on warm days since the location on the bank of the Gulf of Finland can make for very windy and chilly conditions in fall, winter, and spring.

Of the palace's 50-odd rooms, several are open to the public when no state functions are taking place. Both the VIP and historic tours visit the Marble Hall and Oval Hall. The central Marble Hall, used to host official events, lives up to its name with yellow marble pilasters framed by bluish marble walls. A balcony here affords a breathtaking view of the huge park and canals leading to the Gulf of Finland. Next door is the large, pink Oval Hall, also used for official meetings. The VIP tour goes on to visit the Blue Hall, opposite the Marble Hall, with blue walls, high mirrors, and gilt ornamentation. A wine cellar has been reconstructed; it holds Hungarian Tokay wines, as it did when this was a royal residence. The third-floor belvedere is a new addition. Styled as a ship's hold, it's made of oak, with a spiral staircase leading to an observation deck with lovely views of the grounds. In addition to the rooms themselves, you can see various permanent exhibits, such as Russian state symbols from the Hermitage, and naval memorabilia from St. Petersburg's Naval Museum.

The grounds are worth exploring, particularly the Upper (English) Park, Big Pond, canals, drawbridges, and the monument to Peter the Great, which stands just in front of the palace. Also on the property are 20 new, luxurious cottages, each named for a different Russian city that contributed objects to the decor; they were initially built to house visiting heads of state, but they are available for private rent at exorbitant prices. Visiting officials now tend to stay in the Baltic Star hotel, also on the grounds.

Before visiting, be sure to call ahead to make sure the palace will not be closed for state functions. A great option is to join a special tourist bus (labeled "To Konstantine Place") that leaves from Beloselsky-Belozersky Palace (located at Nevsky Prospect) in St. Petersburg. You can purchase a ticket from any theater box office. The excursion departs weekdays at 2 PM and at 11 AM and 3 PM on weekends, and includes a visit to the eastern part of the palace and the return trip.

3 Beryozovaya alleya, Strelna. 812/438-5360. www.konstantinepalace.ru. Eastern palace tour: weekdays 150R, weekends 200R; VIP tour of western palace 280R; grounds tour 100R. Bus excursion from St. Petersburg 500R. Thurs.-Tues. 10-6, ticket office open until 5. Closed for official events.

Pushkin (Tsarskoye Selo)

The town of Pushkin was a summer residence of the Imperial family from the days of Peter the Great right up to the last years of the Romanov dynasty. Pushkin was initially known as Tsar's Village (Tsarskoye Selo), but the town's name was changed after the Revolution of 1917, first to Children's Village (Detskoye Selo) and then to Pushkin, in honor of the great Russian poet who studied at the lyceum here. During the 18th and 19th centuries, Tsarskoye Selo was a popular summer resort for St. Petersburg's aristocracy and well-to-do citizens. Not only was the royal family close by, but it was here, in 1837, that Russia's first railroad line was opened, running between Tsarskoye Selo and Pavlovsk, to be followed three years later by a line between here and St. Petersburg.

Pushkin's main attraction is the dazzling 18th-century Catherine Palace,a perfect example of Russian baroque. The bright-turquoise exterior has row after row of white columns and pilasters with gold baroque moldings running the entire length (985 feet) of the facade. Although much of the palace's history and its inner architectural design bears Catherine the Great's stamp, it's for Catherine I, Peter the Great's second wife, that the palace is named. Under Empress Elizabeth, their daughter, the original modest stone palace was completely rebuilt. The project was initially entrusted to the Russian architects Kvasov and Chevakinsky, but in 1752 Elizabeth brought in the Italian architect Bartolomeo Rastrelli. Although Catherine the Great had the interiors remodeled in the classical style, she left Rastrelli's stunning facade untouched.

You enter the palace grounds through the gilded black-iron gates designed by Rastrelli. The E mounted atop is for Catherine ("Ekaterina" in Russian). To your right, a visual feast unfolds as you walk the length of the long blue-and-gold facade toward the museum entrance. Sparkling above the palace at the northern end are the golden cupolas of the Palace Church. The interiors are just as spectacular, and many of the rooms are famous in their own right. Although little of Rastrelli's original design remains, the many additions and alterations made between 1760 and 1790 under Catherine the Great do; these were carried out by a pair of noted architects, the Scottish Charles Cameron and the Italian Giacomo Quarenghi.

Entering the palace by the main staircase, which was not added until 1861, you will see displays depicting the extent of the wartime damage and of the subsequent restoration work. Like Peterhof, the palace was almost completely destroyed during World War II. It was used by occupying Nazi forces as an army barracks, and as the Germans retreated, they blew up what remained of the former Imperial residence. Today the exterior of the palace again stands in all its glory, and work on the interior is ongoing.

The largest and arguably most impressive room is the Great Hall (Bolshoi Zal), which was used for receptions and balls. The longer sides of the hall are taken up by two tiers of gilt-framed windows. Tall, elaborately carved, gilded mirrors have been placed between them. Light pouring in through the windows bounces off the mirrors and sparkles on the gilt, amplifying the impression of spaciousness and brilliance. The huge ceiling painting, depicting Russian military victories and accomplishments in the sciences and arts, makes the room seem even larger. Here it's easy to imagine the extravagant lifestyle of St. Petersburg's prerevolutionary elite.

On the north side of the State Staircase is one of the palace's most famous rooms, the Amber Room (Yantarnaya Komnata), so named for the engraved amber panels that line its walls. The room owes much of its fame to this mysterious disappearance in World War II. In 1979 the Soviet government finally gave up hope of ever retrieving the panels and began the costly work of restoring the room. After 25 years of restoration a nearly exact replica of the room opened in June 2003.

Leaving the Amber Room, you'll come to the large Picture Gallery (Kartinny Zal), which runs the full width of the palace. The paintings are all from Western Europe and date from the 17th to the early 18th century.

Highlights among the other splendid rooms on the north side include the Blue Drawing Room, the Blue Chinese Room, and the Choir Anteroom, all of which face the courtyard. Each has pure silk wall coverings. The Blue Chinese Room, originally designed by Cameron, has been restored on the basis of the architect's drawings. Despite its name, it's a purely classical interior, and the only thing even remotely Chinese is the Asian motif on the silk fabric covering the walls. The fine golden-yellow silk now on the walls of the Choir Anteroom is from the same bolt used to decorate the room in the 18th century. When the postwar restoration began, this extra supply of the original silk was discovered tucked away in a storage room of the Hermitage.

Having savored the treasures inside the palace, you can now begin exploring the beautiful Yekaterininsky Park outside, with its marble statues, waterfalls, garden alleys, boating ponds, pavilions, bridges, and quays. The park is split into two sections. The inner, formal section, known as the French Garden, runs down the terraces in front of the palace's eastern facade. The outer section encloses the Great Pond and is in the less-rigid style of an English garden. If you follow the main path through the French Garden and down the terrace, you'll eventually reach Rastrelli's Hermitage, which he completed just before turning his attention to the palace itself. The hermitage was closed at this writing for extensive renovation. Other highlights of the French Garden include the Upper and Lower Bath pavilions (1777-79) and Rastrelli's elaborate blue-domed Grotto.

There is much to be seen in the English-style garden, too. A good starting point is the Cameron Gallery (Galereya Kamerona), which actually forms a continuation of the palace's park-side frontage. It's off to the right (with your back to the palace). Open only in summer, it contains a museum of 18th- and 19th-century costumes. From its portico you get the best views of the park and its lakes—which is exactly what Cameron had in mind when he designed it in the 1780s. The double-sided staircase leading majestically down to the Great Pond is flanked by two bronze sculptures of Hercules and Flora. From here, descend the stairs to begin your exploration of the park. Just beyond the island in the middle of the Great Pond, actually an artificial lake, stands the Chesma Column, commemorating the Russian naval victory in the Aegean in 1770. At the far end of the pond is Cameron's Pyramid, where Catherine the Great reportedly buried her beloved greyhounds. If you walk around the pond's right side, you'll come to the pretty blue-and-white Marble Bridge, which connects the Great Pond with a series of other ponds and small canals. At this end, you can rent rowboats. Farther along, up to the right, you come to the "Ruined Tower." It's neither authentic nor ancient, having been built in the late 18th century merely to enhance the romantic ambience of these grounds.

Outside the park, just north of the Catherine Palace, stands yet another palace, the Alexander Palace (Alexandrovsky Dvorets), a present from Catherine to her favorite grandson, the future Tsar Alexander I, on the occasion of his marriage. Built by Giacomo Quarenghi between 1792 and 1796, the serene and restrained classical structure was the favorite residence of Russia's last tsar, Nicholas II. The left wing of the building is open to the public and hosts topical exhibits. Most of the interior was lost, with the notable exception of Nicholas's cabinet, a fine example of art nouveau furniture and design. A visit is most interesting in the context of the ongoing rehabilitation of Nicholas II's reputation in Russia.

Built in 1791 and originally intended for the education of Catherine the Great's grandchildren, the Lyceum later became a school for the nobility. Its most famous student, enrolled the first year it opened, was the beloved poet Alexander Pushkin. The building now serves as a museum; the classroom, library, and Pushkin's bedroom have been restored to their appearance at the time he studied here. In the school's garden is a statue of the poet as a young man, seated on a bench, presumably deep in creative meditation. The building is attached to the Catherine Palace. 7 ul. Sadovaya. 812/465-2024 or 812/466-6669. Park 100R, group tour 600R; Catherine Palace 500R; Alexander Palace 260R; Lyceum 200R. Park and palaces Wed.-Mon. 10-5; Catherine Palace closed last Mon. of month; Alexander Palace closed last Wed. of month

Where to Eat

Staraya Bashnya. Tucked away in a clutch of buildings known as the Fyodorovsky Gorodok (a short walk north of Alexander Palace) is the Old Tower, a tiny restaurant that serves Russian and European cuisine. The European dishes are perhaps more expensive than they should be, so stick to Russian items such as the pelmeni (tender meat dumplings) with garlic or beef Stroganoff. The portions are very generous. 14 Akademichesky per. 812/466-6698. Reservations essential. MC, V

Admiralteistvo. This charming land-friendly little restaurant is on the second floor of an old redbrick pavilion just across the lake from the Catherine Palace. Its nostalgic, retro-style interiors are furnished with antique furniture and a number of partially enclosed seating areas give you some isolation for a private dinner. The restaurant specializes in European and excellent Russian cuisine. For a genuine Russian delight, go for fish such as baked sturgeon or sterlet, which was very popular at the tsars' tables. The restaurant also serves Italian pastas and has a sushi bar run by a Korean. It indeed offers not only the widest variety of dishes, but also a wide range of prices. 7 Sadovaya ul., in Yekaterininsky Park. 812/465-3549. DC, MC, V

Pavlovsk

The estate grounds of Pavlovsk had always been the royal hunting grounds, but in 1777 Catherine the Great awarded them to her son Paul I (Pavlovsk comes from "Pavel," the Russian for Paul) upon the birth of his first son, the future tsar Alexander I. Construction of the first wooden buildings started immediately, and in 1782 Catherine's Scottish architect Charles Cameron began work on the Great Palace and the landscaped park. In contrast to the dramatically baroque palaces of Pushkin and Peterhof, Pavlovsk is a tribute to the reserved beauty of classicism. Paul's intense dislike of his mother apparently manifested itself in determinedly doing exactly what she would not—with, most visitors agree, gratifying results. The place is popular with St. Petersburg residents, who come to stroll through its beautiful 1,500-acre park, full of woods, ponds, tree-lined alleys, and pavilions.

Begin a tour of Pavlovsk with the golden yellow Great Palace (Bolshoi Dvorets), which stands on a high bluff overlooking the river and dominates the surrounding park. (If you walk the grandious park first, you risk being too tired or too late for touring the palace, whose rooms begin closing after 4 PM.) Built between 1782 and 1786 as the summer residence of Paul and his wife, Maria Fyodorovna, the stone palace was designed in imitation of a Roman villa. The architect Vincenzo Brenna enlarged the palace between 1796 and 1999 with the addition of a second story to the galleries and side pavilions. Despite a devastating fire in 1803 and further reconstruction by Andrei Voronikhin in the early 19th century, Cameron's basic design survives. The building is crowned with a green dome supported by 64 small white columns. Its facade is currently under renovation. In front of the palace stands a statue of the snub-nosed Paul I, a copy of the statue at Gatchina, Paul's other summer residence.

Many rooms are open for viewing, and you may start on either the first or the second floor. The splendid interiors, with their parquet floors, marble pillars, and gilt ceilings, were created by some of Russia's most outstanding architects. Besides Cameron, Brenna, and Voronikhin, the roll call includes Quarenghi, who designed the interiors of five rooms on the first floor, and Carlo Rossi, who was responsible for the library, built in 1824. The state apartments on the first floor include the pink-and-blue Ballroom; the formal Dining Hall, where the full dinner service for special occasions is set out; and the lovely Corner Room, with walls of lilac marble and doors of Karelian birch. On the first floor, on the way from the central part of the palace to the southern section, are the Dowager Empress Rooms (Komnaty Vdovstvuyuschei Imperatritsy), six rooms that were designed for Maria Fyodorovna after the death of Paul I. The most impressive of these is the Small Lamp Study (Kabinet Fonarik), a light-green room that overlooks Tsar's Little Garden. The empress's library and other belongings are on display here.

Among the lavishly decorated state rooms on the second floor is the famous Greek Hall, with a layout like that of an ancient temple. Its rich green Corinthian columns stand out against the white of the faux-marble walls. The hall, which also served as a small ballroom, linked the state chambers of Paul I to those of his wife, Maria. The last room on his side, leading to the Greek Hall, was the Hall of War. Maria's Hall of Peace, was designed to correspond to it. The gilt stucco wall moldings of her suite are decorated with flowers, baskets of fruit, musical instruments, and other symbols of peace. Beyond Maria's apartments is the light-filled Picture Gallery, with floor-length windows and an eclectic collection of paintings. From the gallery, via a small, pink, marble waiting room, you reach the palace's largest chamber, Throne Hall. It once held the throne of Paul I, which was removed for a victory party after Napoléon's defeat and somehow never returned.

Like the palace, the design of the park was shared by the leading architects of the day—Brenna, Cameron, Voronikhin, and Rossi. The park differs greatly from park designs of other Imperial palaces, where the strict rules of geometrical design were followed; at Pavlovsk nature was left unfettered, with simple beauty the splendid result.

The combined length of the park's paths and lanes is said to equal the distance between St. Petersburg and Moscow (656 km [407 mi]). Because you can't possibly cover the entire territory in one day anyway, you might just want to follow your whim. If you walk down the slope just behind the palace to the Tsar's Little Garden (Sobstvenny Sadik), you can see the Three Graces Pavilion, created by Cameron. The 16-columned pavilion encloses a statue of Joy, Flowering, and Brilliance. Directly behind the palace, a stone staircase, decorated with lions, will take you to the Slavyanka Canal. On the canal's other side, down to the left, is the graceful Apollo Colonnade, built in 1783, whose air of ruin was not entirely human-made: it was struck by lightning in 1817 and never restored. If you bear right at the end of the stairs, you come to the Temple of Friendship, meant to betoken the friendship between Empress Maria and her mother-in-law, Catherine the Great. Beyond it is a monument from Maria to her own parents; the center urn's medallion bears their likenesses. Of the other noteworthy pavilions and memorials dotting the park, the farthest one up the bank is the Mausoleum of Paul I, set apart on a remote and overgrown hillside toward the center of the park. Maria had the mausoleum built for her husband after he was murdered in a palace coup. Paul was never interred here, however, and though Maria is portrayed as inconsolable in a statue here, historical evidence indicates that she was well aware of the plot to kill her husband.

20 ul. Revolutsii. 812/470-2156. www.pavlovsk.org. Palace and grounds 370R; park 60R; additional 30R for Dowager Empress Rooms; Sobstvennyi Sadik 60R. Sat.-Thurs. 10-5. Closed 1st Mon. of month.

Where to Eat

Podvoriye. Past guests at this unmissable wooden restaurant built in the terem (folk- or fairy-tale) style include the presidents of France and Russia. Inside a stuffed bear greets you with samplings of vodka. Traditional Russian fare includes pickled garlic and mushrooms, excellent sturgeon dishes, and cutlets of wild boar, bear, or elk. Among the less expensive traditional main courses are pelmeny (meat dumplings) and golubtsy (a mixture of rice and meat wrapped in cabbage or grape leaves). An expensive course of a frying pan filled with homemade sausage, pork and beef, or with sturgeon and trout, can be enough for three or even four people. Drinks to try are kvas (a sweet, lightly fermented drink made from bread or grains) and mors (a sour-sweet cranberry juice). It's best to make a reservation. 16 Filtrovskoye shosse. 812/465-1399. AE, DC, MC, V

Great Column Hall. The former servants' quarters inside Pavlovsk house this Russian restaurant with both cafeteria-style and full-menu service. The European offerings include different kinds of salads and well-prepared trout and pike-perch. If you want to try Russian cuisine you can order traditional national dishes, such as pancakes with caviar, or fish or meat in aspic, by phone beforehand. You can also order picnic items here to eat on the palace's extensive grounds. Keep in mind that the restaurant closes by 6 PM. Pavlovsk Palace. 812/470-9809. MC, V

Gatchina

The main attractions of Gatchina, the most distant of St. Petersburg's palace suburbs, are an expansive park with a network of bridges for island-hopping, and a grim-looking palace—actually more like a feudal English castle—that has unfortunately been allowed to deteriorate over the years. Perhaps because Gatchina doesn't hold the Imperial splendor that's available in excess at the other suburbs, it's usually not included in prearranged excursions, and thus is rarely visited by foreign tourists. Because it does offer a chance to escape from the crowds for a while, however, it's worth a visit. Keep in mind that fine dining is not widely available, so be sure to bring along a lunch that you can enjoy on the shores of the Silver Lake.

The name Gatchina itself is of questionable origin. One popular suggestion is that it comes from the Russian expression gat chinit, meaning "to repair the road." Others believe it comes from the German phrase hat schöne, meaning "it is beautiful." In its current state, both expressions could apply. Gatchina, which is the name of both the city and the park-palace complex, dates to the 15th century, when it was a small Russian village. In 1712, following the final conquest of the area by Russia, Peter I gave Gatchina to his sister, the tsarevna Natalya Alexeyevna. The land changed hands several times over the years, eventually ending up as a possession of Catherine the Great. She gave it to one of her favorites, Count Grigory Orlov, in 1765. Orlov maintained possession of the complex until 1783. It was during this period that the architect Antonio Rinaldi designed and built the palace and laid out the park, which was eventually decorated with obelisks and monuments in honor of the Orlovs.

In 1783 Orlov died, and Gatchina passed to Catherine's son Paul I and his wife. While Gatchina was in Paul's possession, the architect Vincenzo Brenna produced plans for the construction of the Eagle and Venus pavilions, the Birch House, and the Constable Column, which are scattered throughout the park. But at various times, Gatchina Palace was a residence of Nicholas I, Alexander II, and Alexander III, and it bears witness to many important historic events, as well as the political and personal secrets of the Romanov dynasty.

In contrast to the pastel colors and flashiness of the palaces of Pushkin and Peterhof, Gatchina Palace has the austere look of a military institution, with a restrained limestone facade and a blocklike structure almost completely bereft of ornamentation. The palace, which is built on a ridge, is also surrounded by a deep moat, which emphasizes the castle design of the facade. Its northern side faces a green forest tract stretching for some distance. The southern facade opens up to the main parade grounds, which were once used for military displays. Along the outer edge of the parade grounds runs a short bastion with parapets cut out with embrasures for firing weapons. The palace is also accentuated by two five-sided, five-story towers, the Clock Tower, and the Signal Tower.

Construction on the palace was carried out in three main phases. The first period began in 1766 under the guidance of Rinaldi. He built the three-story central part of the palace, as well as the service wings and the inner courtyards, known as the Kitchen Block and the Stable Block (later called the Arsenal Block). The second stage of construction began in 1783, when Brenna made the side blocks level with the galleries and installed cannons, adding to the palace's image as a feudal castle. Brenna also integrated new palatial halls, thus turning Rinaldi's chamberlike interiors into ceremonial rooms.

The third stage took place under the watchful eye of Nicholas I. He hired the architect Roman Kuzmin to reconstruct both side blocks between 1845 and 1856. He also built a new chapel, and living rooms were arranged in the Arsenal Block. Kuzmin's work also eventually led to the restoration of the 18th-century rooms, the construction of a new main staircase in the central section, and the reshaping of the bastion wall in front of the palace.

The palace was badly damaged during World War II, and restoration is still in progress (though you can still visit the palace). Fortunately, a collection of watercolors by the artists Luigi Premazzi and Edward Hau survived. Painted during the 1870s, these watercolors are accurate depictions of the state- and private-room interiors, and have provided the information necessary for workers to restore the palace to its prewar condition. Within the palace you can see some partially restored rooms and exhibits of 19th-century arms and clothing.

A 10-minute walk from Gatchina Palace will bring you to Black Lake and the white Prioratsky Palace, a unique construction made of rammed earth. It was built at the end of the 18th century by architect Nikolai Lvov, the first person in Russia to introduce cheap, fireproof, rammed-earth construction. The palace was meant for the great French prior Prince Conde (though he never lived here). The southern part of the palace resembles a Gothic chapel, but the rest resembles a fortification. On the first floor are exposed samples of the rammed earth; the second floor has displays on the palace's construction.

After touring the palaces, you may want to consider heading down to the lakes for a little relaxation. Rowboats and catamarans are available at a cost of 50R for 30 minutes—just look for the bare-chested, tattooed men standing along the lake (you may also be asked to provide your passport as a deposit, just to make sure you actually return the boat instead of fleeing to Finland). The Gatchina park is laid out around a series of lakes occupying about one-third of its entire area. One of the largest sections of the park is called the English Landscape Gardens (Angliiskiye Sady), built around the White and Silver lakes. On a clear day the mirrorlike water reflects the palace facade and pavilions. The park is dotted with little bridges, gates, and pavilions, among which several are dedicated to the state and military deeds of the Orlov brothers. These include the Eagle (Orliny) Pavilion, built in 1792 on the shores of the Long Island, and the so-called Chesma Column, built by Rinaldi in honor of the Orlovs' military deeds. Keep in mind that the signs in the park are in Russian and point to eventual destinations, such as Berlin, but if you keep to the lakeshore at all times, you shouldn't have any trouble.

1 Krasnoarmeisky Pr. 81371/13492 Gatchina Palace; 81371/76467 Prioratsky Palace. Gatchina Palace and park 360R, Prioratsky Palace 100R. Park, Gatchina Palace, and Prioratsky Palace Tues.-Sun. 10-5. Closed 1st Tues. of month.