Palace Square and the embankment of the Neva River. Palace embankment. Sights of Palace Embankment

Palace Embankment on Wikimedia Commons

On the embankment there are buildings of the State Hermitage, the Russian Museum, etc.

Connection with the city street and road network

Main highways

Streets

Water communications

Transport

Ground public transport only crosses the embankment without walking along it itself.

On the embankment there are piers serving aquatic species transport:

Public transport crossing the embankment:

• Stop « Dvortsovaya embankment Erezhnaya" at the Palace Bridge:

• Stop "Suvorovskaya Square" at Trinity Bridge:

History of construction

Coastline formation

At the beginning of the 18th century, the marshy bank of the Neva was not yet fortified, construction was carried out in the depths of the plots, so the embankment ran approximately in the middle of the block between the current Millionnaya Street and the modern Neva embankment and was called Upper embankment. However, already in 1716, due to expansion land plots moves north: beat the piles along the shallow waters of the river and built a new embankment that still exists today.

In April 1707, a decree was issued strictly regulating the allocation of plots for development depending on the official and property status of the petitioners. The same decree established the size of land plots. All of them had a narrow side (from 5 to 12 fathoms) facing the bank of the Neva and were intended only for persons related to the Admiralty Department.

Architectural ensemble

Stone parapets

In 1761, Catherine II conceived grandiose, ambitious plans for renovating the capital. Urban planning tasks began to come to the fore; the Commission on the Stone Structure of St. Petersburg and Moscow was established, the chief architect of which was Yuri Felten. Among the first measures to transform St. Petersburg was the replacement of the wooden Neva embankment with a stone parapet with pier-stairs. In July 1762 a decree followed:

The decisive role in the implementation of this plan belonged to Felten. Labor-intensive work on the construction of the granite embankment continued until 1780. Shaky ground strengthened pile driver, in some places, earth was added. The pier staircases were supposed to be made with straight ledges, but in the final version they acquired an oval shape. " Along the entire shore and piers, although the balustrades were made of iron bars, but... for strength, the panels were made of sea-cut stone" They laid out from the same stone " a pedestrian». « From there the pedestrian walks to the houses from under old road the weak earth was removed, and instead the foundation was strengthened to a real depth and corrected with special hard paving" Lanterns on metal poles were placed along the entire embankment. At the same time, near the old Winter Palace, a stone “ bridge with vault and balustrade" The bridge across the Fontanka was planned to be made of stone only near the banks, and in the middle to be made of wood, with a lifting device, but for the sake of strength it was built “ all stone with vaults", the same one that has survived to this day.

Attractions

Notable residents

• Representatives of the ruling Romanov dynasty - Summer Palace of Peter I, Winter Palace of Peter I, Winter Palace, grand-ducal palaces.
• I. I. Betskoy - building 2
• I. A. Krylov (1791-1796) - house 2
• Prince Peter of Oldenburg - house 2
• S. Yu. Witte - house 30
• Tarle, Evgeniy Viktorovich (01.1933 - 1955) - building 30, apt. 4
• Giacomo Quarenghi - house 32
• Joseph Orbeli - house 32
• K. E. Makovsky - house 30 (house of G. F. Mengden)

For the main part of the Alexander Column (a granite monolith weighing 600 tons), mined in 1830-1832 at the Pyuterlak quarry, a special pier was used on the Palace Embankment. Transportation issues were dealt with by the naval engineer Colonel Glasin, who designed and built a special boat, called “Saint Nicholas,” with a carrying capacity of up to 1,100 tons. To carry out unloading work, a special pier was built. Unloading was carried out on a wooden platform at the end of the pier, which coincided in height with the side of the ship. The extraction and delivery work was headed by a contractor, merchant son V. A. Yakovlev, who was responsible for the entire part of the operation from the beginning until the moment the monolith was unloaded ashore.

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Notes

Literature

• Gorbachevich K. S., Khablo E. P. Why are they named like that? On the origin of the names of streets, squares, islands, rivers and bridges in Leningrad. - 3rd ed., rev. and additional - L.: Lenizdat, 1985. - P. 106-107. - 511 p.
• Gorbachevich K. S., Khablo E. P. Why are they named like that? On the origin of the names of streets, squares, islands, rivers and bridges of St. Petersburg. - 4th ed., revised. - St. Petersburg. : Norint, 1996. - pp. 71-72. - 359 p. - ISBN 5-7711-0002-1.
• City names today and yesterday: St. Petersburg toponymy / comp. S. V. Alekseeva, A. G. Vladimirovich, A. D. Erofeev and others - 2nd ed., revised. and additional - St. Petersburg. : Lik, 1997. - P. 40. - 288 p. - (Three centuries Northern Palmyra). - ISBN 5-86038-023-2.

Main highways: Streets of Admiralteysky Island: Streets of Kazan Island: Streets - He left a long time ago. She was dying... “I’m very sorry about her illness,” said Prince Andrei. – He grinned coldly, evilly, unpleasantly, like his father. - But Mr. Kuragin, therefore, did not deign to give Countess Rostov his hand? - said Prince Andrei. He snorted several times. “He couldn’t get married because he was married,” said Pierre. Prince Andrei laughed unpleasantly, again resembling his father. - Where is he now, your brother-in-law, may I know? - he said. - He went to Peter... “however, I don’t know,” said Pierre. “Well, it’s all the same,” said Prince Andrei. “Tell Countess Rostova that she was and is completely free, and that I wish her all the best.” Pierre picked up a bunch of papers. Prince Andrei, as if remembering whether he needed to say something else or waiting to see if Pierre would say something, looked at him with a fixed gaze. “Listen, do you remember our argument in St. Petersburg,” said Pierre, remember about... “I remember,” Prince Andrei hastily answered, “I said that a fallen woman must be forgiven, but I did not say that I can forgive.” I can't. “Is it possible to compare this?...” said Pierre. Prince Andrei interrupted him. He shouted sharply: - Yes, asking for her hand again, being generous, and the like?... Yes, this is very noble, but I am not able to go sur les brisees de monsieur [follow in the footsteps of this gentleman]. “If you want to be my friend, don’t ever talk to me about this... about all this.” Well, goodbye. So you will convey... Pierre left and went to the old prince and princess Marya. The old man seemed more animated than usual. Princess Marya was the same as always, but because of her sympathy for her brother, Pierre saw in her joy that her brother’s wedding was upset. Looking at them, Pierre realized what contempt and malice they all had against the Rostovs, he realized that it was impossible in front of them to even mention the name of the one who could exchange Prince Andrei for anyone. At dinner the conversation turned to war, the approach of which was already becoming obvious. Prince Andrei talked and argued incessantly, first with his father, then with Desalles, the Swiss teacher, and seemed more animated than usual, with that animation whose moral reason Pierre knew so well. That same evening, Pierre went to the Rostovs to fulfill his assignment. Natasha was in bed, the count was at the club, and Pierre, having handed over the letters to Sonya, went to Marya Dmitrievna, who was interested in finding out how Prince Andrei received the news. Ten minutes later Sonya entered Marya Dmitrievna’s room. “Natasha definitely wants to see Count Pyotr Kirillovich,” she said. - Well, how about taking him to her? “Your place is not tidy,” said Marya Dmitrievna. “No, she got dressed and went into the living room,” said Sonya. Marya Dmitrievna just shrugged. - When the countess arrives, she completely tormented me. Just be careful, don’t tell her everything,” she turned to Pierre. “And I don’t have the heart to scold her, she’s so pathetic, so pathetic!” Natasha, emaciated, with a pale and stern face (not at all ashamed as Pierre expected her to be) stood in the middle of the living room. When Pierre appeared at the door, she hurried, apparently undecided whether to approach him or wait for him. Pierre hurriedly approached her. He thought that she would give him her hand, as always; but she, coming close to him, stopped, breathing heavily and lifelessly lowering her hands, in exactly the same position in which she went out into the middle of the hall to sing, but with a completely different expression. “Pyotr Kirilych,” she began to speak quickly, “Prince Bolkonsky was your friend, he is your friend,” she corrected herself (it seemed to her that everything had just happened, and that now everything is different). - He told me then to contact you... Pierre silently sniffled, looking at her. He still reproached her in his soul and tried to despise her; but now he felt so sorry for her that there was no room for reproach in his soul. “He’s here now, tell him... so that he can just... forgive me.” “She stopped and began to breathe even more often, but did not cry. “Yes... I’ll tell him,” Pierre said, but... – He didn’t know what to say. Natasha was apparently frightened by the thought that might occur to Pierre. “No, I know it’s over,” she said hastily. - No, this can never happen. I am tormented only by the evil that I did to him. Just tell him that I ask him to forgive, forgive, forgive me for everything...” She shook all over and sat down on a chair. A never-before-experienced feeling of pity filled Pierre's soul. “I’ll tell him, I’ll tell him again,” said Pierre; – but... I would like to know one thing... "What to know?" asked Natasha's gaze. “I would like to know if you loved...” Pierre did not know what to call Anatole and blushed at the thought of him, “did you love this bad man?” “Don’t call him bad,” said Natasha. “But I don’t know anything...” She started crying again. And an even greater feeling of pity, tenderness and love overwhelmed Pierre. He heard tears flowing under his glasses and hoped that they would not be noticed. “Let’s say no more, my friend,” said Pierre. His meek, gentle, sincere voice suddenly seemed so strange to Natasha. - Let’s not talk, my friend, I’ll tell him everything; but I ask you one thing - consider me your friend, and if you need help, advice, you just need to pour out your soul to someone - not now, but when you feel clear in your soul - remember me. “He took and kissed her hand. “I’ll be happy if I’m able to...” Pierre became embarrassed. – Don’t talk to me like that: I’m not worth it! – Natasha screamed and wanted to leave the room, but Pierre held her hand. He knew he needed to tell her something else. But when he said this, he was surprised at his own words. “Stop it, stop it, your whole life is ahead of you,” he told her. - For me? No! “Everything is lost for me,” she said with shame and self-humiliation. - Everything is lost? - he repeated. - If I were not me, but the most beautiful, smartest and best person in the world, and if I were free, I would be on my knees right now asking for your hand and love. For the first time after many days, Natasha cried with tears of gratitude and tenderness and, looking at Pierre, left the room. Pierre, too, almost ran out into the hallway after her, holding back the tears of tenderness and happiness that were choking his throat, without getting into his sleeves, he put on his fur coat and sat down in the sleigh. - Now where do you want to go? - asked the coachman. "Where? Pierre asked himself. Where can you go now? Is it really to the club or guests? All people seemed so pitiful, so poor in comparison with the feeling of tenderness and love that he experienced; in comparison with that softened, grateful look with which she looked at him the last time because of tears. “Home,” said Pierre, despite the ten degrees of frost, opening his bear coat on his wide, joyfully breathing chest. It was frosty and clear. Above the dirty, dim streets, above the black roofs, there was a dark, starry sky. Pierre, just looking at the sky, did not feel the offensive baseness of everything earthly in comparison with the height at which his soul was located. Upon entering Arbat Square, a huge expanse of starry dark sky opened up to Pierre’s eyes. Almost in the middle of this sky above Prechistensky Boulevard, surrounded and sprinkled on all sides with stars, but differing from everyone else in its proximity to the earth, white light, and long, raised tail, stood a huge bright comet of 1812, the same comet that foreshadowed as they said, all sorts of horrors and the end of the world. But in Pierre this bright star with a long radiant tail did not arouse any terrible feeling. Opposite Pierre, joyfully, eyes wet with tears, looked at this bright star, which, as if, with inexpressible speed, flying through immeasurable spaces along a parabolic line, suddenly, like an arrow pierced into the ground, stuck here in one place chosen by it, in the black sky, and stopped, energetically raising her tail up, glowing and playing with her white light between countless other twinkling stars. It seemed to Pierre that this star fully corresponded to what was in his soul, which had blossomed towards a new life, softened and encouraged.

The bridge was built in 1856: the merchants needed a direct connection with the Exchange and the Commercial Port. In the manufacture of the structure, the floating St. Isaac's Bridge was used. Then it was modernized and called Palace. The permanent bridge appeared in 1916, although it was conceived earlier. The construction was hampered by a variety of events: first - a flood, then - the First World War. In 1917, the bridge was renamed Republican, but in 1944 its original name was returned. Cast iron grates were installed only in 1939. In 2013, this architectural monument was reconstructed.

 Palace Bridge

The garden owes its name to the fact that the palace guards were previously stationed here. The garden was laid out in 1896 and separated the royal residence - Winter Palace- from the roadway. The planning was done by architect Nikolai Kramskoy, according to whose design the garden was raised above the street by about a meter. A fountain and tree seedlings appeared in it. The garden fence was made in the Rastrelli Baroque style: the pattern of leaves was supplemented with the emblem of the imperial family and state emblem. In 1920, the fence was dismantled and installed in. In 2008, the original appearance of the fountain was restored. Now the garden is perfect place for relaxation in the center. In summer you can hide from the sun here, and in winter you can admire the colorful garlands decorating the branches of the trees.



Winter Palace 0+

The main residence of the Russian emperors changed its appearance five times. Construction began under Peter I, and ended under Peter III. Bartolomeo Rastrelli gave the building a modern baroque appearance.

Many decisive events for the country took place in this place: here the revolutionary Stepan Khalturin tried to kill Emperor Alexander II, here a demonstration of workers was shot in 1905, a little later the Provisional Government, removed by the Bolsheviks, met in the palace. For 20 years, the Museum of the Revolution functioned in the Winter Palace, which closed in 1941. Now the palace is the main building of the Hermitage, storing many cultural and historical values ​​and objects of art.

 pl. Dvortsovaya, 2

The museum was built by Yuri Felten and Jean-Baptiste-Michel Vallin-Delamote in 1775. The miniature gallery contains many famous exhibits: the Peacock Clock, the Pavilion Hall, and Hanging Garden. Initially, unique works of art acquired by Catherine II were exhibited here. Only a select few could see them - it is not without reason that the word “Hermitage” is translated as “a place of solitude.” It was only in 1852 that the Hermitage became accessible to the public.

 Dvortsovaya embankment, 36

The museum was built in 1787 by architect Yuri Felten. Built in the classicist style, the building amazes with its interior: the rooms are painted with gilding, decorated with colored stones and skillful stucco. Nowadays administrative premises are located here and works of Italian painting of the 13th-18th centuries are exhibited. Five years after the construction of the building, Raphael’s loggias were added to the Great Hermitage, which contain copies of the artist’s frescoes.

Among the famous objects inside are the Theater and Soviet Staircases. The first connects the floors of the Great Hermitage and allows access to the Hermitage Theater and the Raphael Loggias. The second staircase appeared due to the need for its own entrance to the room where the Committee of Ministers and the State Council met. Architect Andrei Stackenschneider decorated the staircase with marble and decorated the lobby with red porphyry columns.

The New Hermitage, designed by Leo von Klenze in 1851, is located behind the Great Hermitage building. Famous for its portico with ten atlases, the museum was created especially for public visits. Initially, it housed halls of Russian and Western European sculpture; now there is a Knights' Hall with a rich collection of armor and weapons. Also an interesting exhibit is the Large Kolyvan vase made of green jasper weighing 19 tons.

 Dvortsovaya embankment, 34

Winter groove

The ditch was dug in 1719 and was called the Old Palace Canal. It connects the Neva and Moika and extends 228 meters. Despite the fact that the canal is so short, several bridges span it. The Hermitage Bridge became the founder of stone construction in the city: before it, all bridges were constructed exclusively from wood. It was built in the 18th century, like the 1st Winter Bridge. The 2nd Winter Bridge was built in the mid-20th century, but made in the style of the previous two. The buildings of the Great Hermitage and the Hermitage Theater are connected by an arched structure supporting a gallery passage. From the embankment it looks very beautiful: the ditch flows under the arch, disappearing in perspective.

 Winter Canal embankment

Hermitage Theater

Originally located here. In 1787, in its place, Giacomo Quarenghi built a luxurious theater in antique style. The Hermitage Theater was intended for the imperial family and the highest nobility: in addition to operas and performances, balls, masquerades, and amateur performances were staged here. The chamber hall is located in an amphitheater and can accommodate 250 people. The interior of the theater is framed by marble columns, statues of Apollo and muses of art, portraits of great musicians and poets. Since 1990, the theater has hosted performances by the Russian Ballet troupe, the St. Petersburg Ballet Theater. Tchaikovsky, the chamber theater "St. Petersburg Opera" and the L. Jacobson Ballet Theater.

 Dvortsovaya embankment, 34

Previously, on the site of the palace stood the mansion of Ivan Musin-Pushkin, then Dmitry Volkonsky, which a little later housed the French embassy. In 1872, the architect Alexander Rezanov erected a palace intended for the third son of Alexander II, Vladimir. The building was built in the Florentine style, decorated with large Venetian windows and family coats of arms. He was called "Small" imperial palace“because the interior decoration was amazing: different architectural styles harmoniously intertwined in the decor of the halls. The Grand Duke was president of the Academy of Arts and collected paintings.

In the first third of the 20th century, the House of Scientists was opened in the palace, where meetings, round tables, open lectures, and debates were held. Now there are several dozen scientific sections dealing with issues of technology and science. Historical films are also filmed in this place, exhibitions and presentations are held.

 Dvortsovaya embankment, 26

The palace was erected for the family of Grand Duke Mikhail, son of Nicholas I. Architect Andrei Stackenschneider created the building in an eclectic style, combining trends from various architectural trends. Metal structures were used during construction, which was an innovation of that time. In 1911, a museum was opened here, the exhibition of which tells about the life and work of Prince Mikhail, who for a long time was the governor of the Caucasus. On this moment the palace houses the Institute of the History of Material Culture and a big library, which stores many oriental manuscripts.

 Dvortsovaya embankment, 18

Marble Palace (Russian Museum) 0+

This is the first palace in St. Petersburg, the cladding of which is made of natural stone. In his work on the exterior and interior decoration of the building, Antonio Rinaldi used more than 30 types of marble. Many of them are presented in the Marble Hall. Forged latticework and marble vases decorate the main entrance to the palace. Previously, on the site of the palace there was a Postal Yard, and then a menagerie where an elephant lived.

The palace was intended for Count Orlov, but he never settled in it - the count died two years before the completion of construction work. Catherine II had to buy the palace from his heirs. For some time, the empress’s favorite, Stanislav Poniatowski, lived here, and then the building became the property of the Romanov princes. The grandson of Catherine II, Grand Duke Konstantin Pavlovich, lived here, then the son of Nicholas I, Konstantin, and the heirs of his family.

For 17 years, the Russian Academy of the History of Material Culture functioned here, then the Central Lenin Museum operated. In 1996, the palace became a branch of the Russian Museum. The exhibition presents works by foreign artists of the 18th - early 19th centuries. From time to time, exhibitions of works by contemporary masters are held here.

The armored car “Enemy of Capital” stood for a long time near the walls of the Marble Palace. The car was installed in memory of Lenin, who performed in an armored car of a similar model in 1917. Now here is the authorship of Paolo Trubetskoy, who worked on it at the beginning of the 20th century. Previously, it stood on Znamenskaya Square, not far from the modern Moscow railway station. The monument was created as a tribute to the founder of the Siberian Road. The sculpture did not capture the appearance of the emperor, familiar from ceremonial paintings, but a true portrait likeness. In 1919, the ironic poem “Scarecrow” by Demyan Bedny appeared on the monument. He was also involved in the celebration dedicated to the tenth anniversary of the October Revolution. The monument was placed in a cage, decorated with a sickle, a hammer and the emblem of the “USSR”. Since 1937, the monument rested in the Russian Museum and was returned to the city only in the early 90s.

 st. Millionnaya, 5/1

Trinity Bridge

Originally it was a floating bridge, named Troitsky in honor of the nearby square. The permanent drawbridge was built at the beginning of the 20th century in honor of the twenty-fifth anniversary of the wedding of Alexander III and Maria Feodorovna. The grilles and lanterns are designed in the Art Nouveau style by the architects René Patouliard and Vincent Chabrol, and the granite columns with bronze rostras and eagles on top are by Amandus Adamson. Trinity Bridge has undergone two reconstructions. According to legend, it was above this architectural monument Valery Chkalov flew during his famous non-stop flight from Moscow to the North Pole.

 Trinity Bridge

The territory belonged to Count Alexander Vorontsov, who renounced his own rights. By decision of the neighbor, Field Marshal Nikolai Saltykov, a garden was laid out here. In 1818, the state bought the site, and a square was created on this site, the plan of which was worked on by Carl Rossi.

A bronze monument to commander Alexander Suvorov, worked on by Mikhail Kozlovsky, was erected in the center of the square. Originally it stood on the Champ de Mars. Suvorov is depicted in the allegorical image of the god of war, Mars. This was the country's first monument to an uncrowned person, erected by order of Paul I in honor of the commander's victorious campaign in Italy.



It was erected in 1788 by Giacomo Quarenghi in the classicist style and belonged to the merchant Groten. The house changed several more owners and, by order of Catherine II, was purchased by the state and presented to Nikolai Saltykov as gratitude for raising Konstantin Pavlovich, the Empress’s favorite grandson. Alexander Suvorov was a frequent guest at the house, and it was here that Mikhail Kutuzov was appointed field marshal of the army. Before the October Revolution, the house was rented by various foreign embassies. Despite the fact that the building was rebuilt several times, the beautiful interiors in the White Hall and lobby remained intact. Now the St. Petersburg State University of Culture and Arts is located here.

 Dvortsovaya embankment, 4

Originally there was a spruce grove growing here. A little later, Domenico Trezzini built a pavilion for Peter I, where the king spent his relaxing hours. In 1750, Bartolomeo Rastrelli erected an Opera House on the vacated space, where European troupes gave performances. For a long time, the building was rented by an Italian theater. After 22 years, the Opera House was demolished, and construction began on the mansion of Catherine II’s personal secretary, Ivan Betsky. Among the official's guests were Denis Diderot and Ivan Krylov. It was here that the fabulist took up publishing and published the magazines “Spectator” and “St. Petersburg Mercury”.

In 1830, the mansion was purchased by the state treasury and presented to the Prince of Oldenburg. Architect Vasily Stasov re-decorated the building. The son of the Prince of Oldenburg sold the mansion to the Provisional Government for 1.5 million rubles. After the October Revolution, the inner chambers were divided into communal apartments, then a museum and a circle named after Saltykov-Shchedrin appeared in the former palace. In the second half of the 20th century, the mansion was connected to the Saltykov house, so a wing of the St. Petersburg Palace is also located here. state university culture and arts.

One of the oldest buildings in the city was built in 1714. Dominico Trezzini created a Baroque palace, very simple and modest inside. The outside of the building is decorated with bas-reliefs depicting the events of the Northern War. The palace has 14 rooms and 2 kitchens. The palace was built for Peter I's summer vacation. After the death of the tsar, dignitaries lived here, and under Alexander I the palace became publicly accessible. In 1934, a museum was opened there. In the mid-20th century a major restoration was carried out. Now the building is a branch of the Russian Museum.

It was conceived as a regular park and personal residence of the king. In 1704, official landscaping work began. Over the course of 15 years, the garden acquired the desired appearance. They began to let visitors in; they did this selectively and on Sundays. Composition Summer Garden was carried out by Jean Baptiste Leblond, and Bartolomeo Rastrelli created wooden palace for Anna Ioanovna, the “Amphitheater” cascade and the “Crown” fountain. The garden was filled with Venetian sculptures, becoming, along with fountains, its main decoration. Later, a flood destroyed the fountains and the Grotto pavilion, which it was decided not to restore. The fence appeared in 1784, and in 1855 a monument to Krylov was erected here. Gradually, the garden acquired the features of a landscape English park and completely opened its doors to the public. In 2012, the reconstruction of the Summer Garden was completed, the layout of which was given its original appearance.

 emb. Kutuzova, 2

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Palace Embankment

And, leaning on the colonnades, Granite masses rise in an unshakable sequence of Palaces Above the darkened Neva!.. N. Agnivtsev.

Location: left bank of the Neva, from Troitsky to Palace Bridge

Palace Embankment, one of the most picturesque in St. Petersburg, is located on the left bank of the Neva, between the Kutuzovskaya and Admiralteyskaya embankments. It crosses Suvorovskaya Square and is connected by the Palace Bridge with Vasilyevsky Island, and Trinity Bridge - with the Petrograd side. The ensemble of Dvortsovaya Embankment includes those outstanding in their artistic significance architectural structures: Winter Palace, Small and Old Hermitages, Hermitage Theater, Marble Palace, House of Scientists and other buildings.

Soon after the founding of St. Petersburg, in 1715, it was planned general scheme Palace embankment. In those days it was called Verkhnyaya, and retained this name until the end of the 18th century. In 1754-1762, according to the design of the architect Rastrelli, the Winter Palace was erected, which became the royal residence. It was he who gave the name to those located next to him Palace Square, Dvortsovaya Embankment, Dvortsovy Proezd and Dvortsovy Bridge. During the heyday of Soviet power, when it became a good tradition to rename streets and avenues, naming them in honor of prominent figures and memorable dates Revolution, Palace Embankment turned into the Ninth January Embankment. However, already in 1944 the original name was returned, and since then it has remained unchanged.

In the middle of the 18th century, the Palace Embankment was lined with granite; it was complemented by picturesque descents to the water, made by the master G. Nasonov according to the design of the architect I. Rossi. In the 19th century, at the place where the entrance to the Palace Bridge is located today, there was a pier decorated with bronze sculptures of lions (sculptor - I. Prokofiev) and porphyry vases. In 1873 they were moved to the Admiralteyskaya Embankment.

On Palace Embankment there is former palace Grand Duke Vladimir Alexandrovich, designed by the architect A. Rezanov in the style of a Florentine palazzo. Today it houses the House of Scientists (Dvortsovaya Embankment, 26). House No. 20 belonged to I. Moshkov, the quartermaster of Peter I. The old walls of the building were preserved under late plaster. House No. 18 was built in the mid-19th century by the architect Stackenschneider for Grand Duke Michael. There is no stylistic unity in the development of Palace Embankment, but its appearance gives the impression of harmony, balance and architectural integrity.

Historical reference

1715 - creation of the embankment. 1754-1762 - construction of the Winter Palace building, which gave its name to the embankment. 1763-1767 - the embankment is lined with granite, descents to the water have been built. 1763-1766 - construction of the Hermitage Bridge across the Winter Canal. 1767-1768 - construction of the Verkhne-Lebyazhy Bridge across the Lebyazhy Canal. Legends and myths

There are several palaces located on Palace Embankment, including the official royal residence, so it is not surprising that many legends about the palaces themselves and their owners are associated with this place in St. Petersburg. For example, among the Hermitage workers there is a legend about the last owner of the Winter Palace - Emperor Nicholas II. They say that in the evenings the ghost of the martyr king appears in the galleries of the Hermitage, sadly looking around his former possessions.

Palace Embankment- this is the Neva embankment in St. Petersburg.

The Palace Embankment is located on the left bank of the Neva and runs from the Kutuzov Embankment to the Admiralteyskaya Embankment. The length of the embankment is 1300 meters.

History of Palace Embankment

The Neva embankment was planned shortly after the founding of the city, in 1715. In those days it was called Verkhnyaya.

IN different time The embankment was called by different names: Cash Line, Verkhnyaya Kamennaya Embankment, Millionnaya. Sometimes it was called Pochtovaya because the Postal Yard was located here. After the Winter Palace was built here in 1762, the embankment began to be officially called the Palace Embankment. IN Soviet time The embankment was called the Ninth of January for a long time, but in 1944 its old name was returned to it.

Until the mid-18th century, all embankments were wooden, and Dvortsovaya became the first stone street. During the reconstruction, it was complemented by picturesque descents to the water, made by the master G. Nasonov according to the design of the architect I. Rossi.

Sights on Palace Embankment

• Laundry Bridge
• Summer garden
• Upper Lebyazhy Bridge
• Betsky's House
• Saltykov House
• Marble Palace
• Mansion of Gromov (Ratkova-Rozhnova)
• Apartment house Zherebtsova
• Novo-Mikhailovsky Palace
• Palace of Vladimir Alexandrovich
• Spare house of the Winter Palace
• Hermitage Theater
• Hermitage Bridge
• Great Hermitage
• Small Hermitage
• Winter Palace
• Garden of the Winter Palace

 

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