He completed the Catherine's tradition of building monuments of military glory in Catherine's Park. The pavilion was conceived as a memorial to the Russian-Turkish war of 1828–1829; according to the time of construction, this is the latest building on the territory of the Catherine Park. The minaret with a crescent and the main dome, the entrance in the form of a mihrab niche give the pavilion the features of a mosque. The dome is adorned with relief ornaments of gilded copper framing the round multi-coloured windows.

The interior was decorated with authentic details of the marble decoration of the Turkish sultana's bath, brought to the emperor as trophies from Adrianople. The decoration of the bath was marble boards with Turkish script inscriptions, placed on the walls murmuring. "fountains of tears", multi-colored inlays made of natural and artificial marble with gilding, a marble fountain pool in the center of the hall, etc.

The pavilion was erected by the will of Emperor Nicholas I in 1850-1852. designed by I. Monighetti by the Italian architect Camuzzi. The building was never used as a bathhouse and was originally built without heating, the pavilion served only as a place to relax and decorate the park.

After the revolution, the pavilion was mothballed, and only in 1941 it was opened as a museum, but not for long...
During the war of 1941-1945, the pavilion was heavily damaged. A direct hit from a shell ripped out the outer wall into the Divan room, a large hole gaped in the floor into the basement, into which the Olonets marble niche fountain fell into pieces ... The Main Hall was better preserved, authentic Constantinople fountains survived in places. The minaret has also been preserved, having lost the crescent crowning it.

In 1953, the facades of the pavilion were restored. The bathhouse housed a boat station for a long time, and in winter boats were stored in it.
The final restoration of the pavilion was carried out from 2005 to 2008, now it exhibits items from the collection of the Tsarskoye Selo State Museum Reserve.

The cost of visiting the Turkish Bath pavilion for adults is 200 rubles, for students, students and pensioners - 100 rubles, for visitors under 16 visiting the pavilion is free!
Bath amenities are not included in the ticket price.
Pavilion "Turkish bath" is open from June 15 to September 30 from 11 am to 7 pm (ticket office until 6 pm), the day off is Wednesday.

Gothic gate

The Gothic cast-iron gates are set at the beginning of a gentle ascent leading to the upper platform of the Ruin Tower.
In the gaps of the gate supports, at the top and bottom, there are four cast-iron female figures.
By themselves, these gates are one of the unique masterpieces that the Catherine Park is famous for. At one time, they demonstrated the highest level of the domestic iron foundry industry, when casting of such colossal dimensions (the arch has a height of 12 meters, a width of almost 7 meters, and a weight of 30 tons) seemed impossible. The British even for a long time considered the Gothic gates of Tsarskoye Selo to be wooden, since they themselves began to make such products only in the first third of the 19th century.

The openwork arch of the Gothic Gate is distinguished by lightness and elegance of the solution. The product was cast from cast iron in 1778 at the Ural Kamensky plant according to the project and wooden model of Y. Felten. In the summer of 1780, the details of the gate, delivered from the Urals in boxes, were assembled and installed in place under the guidance of I.V. Neelova.

A curious story was connected with the delivery - one of the female figures, still on the way to Tsarskoe Selo, was repulsed by the rebels - the Pugachevites and taken away by boat in an unknown direction. The thieves were misled by the casing in which it was transported, similar in shape to the packaging of the gun.

Pavilion "Turkish bath" in Pushkin (Russia) - description, history, location. Exact address, phone number, website. Reviews of tourists, photos and videos.

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In the heart of Catherine's Park, on the south side of the Big Pond, there is an unusual building. It is strikingly different from the rest of the buildings: magnificent, proud monuments of the Baroque and Classicism eras. The pavilion "Turkish bath" seemed to have descended from the pages of an oriental fairy tale - simple graceful lines, opal-pink walls, airy proportions of the dome and a gilded minaret needle crowned with a crescent.

Why "Turkish Bath" and not "Turkish Mosque"? The fact is that the pavilion was erected in memory of the Russian-Turkish war of 1828-1829. The Turks at that time had an unpleasant habit: they arranged baths in the captured temples of foreign religions. Emperor Nicholas, who considered himself the protector of all Orthodox Christians, the purpose and form of the new pavilion not only reminded of the victories of Russian weapons - it was a transparent hint at the future fate of the Brilliant Porte.

The architect I. A. Monighetti, who personally visited Adrianople, based the project on sketches of the mosque there. To enhance the propaganda effect, the interior decoration used genuine marble columns, decorations and bas-reliefs from the personal bath of the Turkish Sultan (his Adrianople residence was once captured by Russian troops, and decorative elements were taken to St. Petersburg as a trophy).

Already at the project stage, the architect faced difficulties typical of Nicholas Russia - the dominance of bureaucracy and a chronic lack of money. Monighetti intended to build a real, luxurious Turkish bath-hammam: with a Coffee House, Sofa, Dressing Room, Hot, Large and Small baths with different water temperatures. The estimate was calculated at 38,000 rubles, but Nicholas I estimated imperial greatness much more modestly - at 30,000 and not a penny from above. To fit into the meager budget, Monighetti had to abandon the original idea and turn the pavilion into a cold bath - now only wash bowls with taps for hot and cold water remind of the former plan.

Although the Turkish Bath is the youngest pavilion in the Catherine Park, its interior is one of the oldest. Part of the Adrianople decorations in the room with a pool and a gilded fountain date back to the 16th century.

Only 4,000 rubles were allocated for the interior. In order to meet the modest amount, Monighetti had to personally go to Moscow and buy "small things for furnishing" in existing Turkish baths. The decoration was completely completed in 1853 - less than a decade remained before the defeat of Russia in the Crimean War.

In the last years of the empire, the useless pavilion quietly decayed, until it was mothballed in 1917. The Second World Pavilion also got it: it received several hits from shells. After cosmetic repairs, the Turkish Bath was turned into a back room at the boat station, the marble interior was covered with a layer of paint.

In 2006, a complete restoration of the monument began. The building was literally recreated from the ruins - the minaret was dismantled, the bricks were numbered, then they were put back together. We strengthened the foundation of the pavilion, restored engineering communications. In the warm season, the Turkish Bath again receives visitors: the revived rooms serve as museum halls, exhibits from the funds of Tsarskoye Selo are exhibited in them.

Practical information

How to get there: you can find full information about the address of Catherine's Park, available transport, opening hours and ticket prices on the page "Catherine's Park in Pushkin".

The pavilion is located in the landscape part of the park, on the western bank of the Big Pond.

The Turkish bath is the last building completed on the territory of the Catherine Park. The pavilion was modeled after the Turkish mosques in the city of Adrianople (now the city of Edirne in northern Turkey). The pavilion is a memorial to the Russian-Turkish war of 1828-1829.

For reference: Often in the conquered territories, the Turks arranged baths in churches and the construction of the Turkish bath became a kind of response move. Trophies were placed in the pavilion - authentic marble details brought to the emperor from the garden of the palace of the Sultan Eske-Soral and the baths of the Turkish sultana in Adrianople: columns, door decorations and wall plaques, fountain bowls and other items.

For the construction of the structure, Nicholas I invited Carl Rossi, but the emperor did not like the architect's project and the work was entrusted to Ippolit Monighetti.

The Turkish bath was built in 1850-1852 on a small man-made peninsula of the Big Pond.

The pavilion served as a decoration of the park, it was built without heating and was never used for its intended purpose - only on summer days, during a walk, they hid in it from the heat.

The dome of the building is decorated with a relief ornament, and the high minaret (the tower from which Muslims are called to prayer) ends with a spire with a crescent moon.

The interiors of the Turkish bath are decorated in the Moorish style (this architectural style originated in the era of Historicism and neostyles at the end of the 19th century).

There were six rooms in the building - Canopy and Dressing Room, Soap Room and Domed Hall with an alcove, Hexagonal Room and service room.

• The walls of the cloakroom are decorated with colored mosaics, stucco and ornamental painting, a cascade fountain is arranged in the niche
• The soap-house was illuminated from above; two bowls for water were arranged in its walls. Through the semicircular arch you can go to the luxurious Dome Hall
• In the middle of the Central domed hall there is a pool of white marble, in which there was a painted gilded fountain. The walls are decorated with marble boards with relief ornaments and poetic texts.

During the Great Patriotic War, the building was badly damaged from a direct hit by a shell. In 1953, the facades were restored and the pavilion housed a boat station. The Turkish bath pavilion was completely restored in 2005-2008 and now exhibits items from the collection of the Tsarskoye Selo State Museum-Reserve.

Opening hours of the Turkish bath in 2019

• During the summer
  • From 11:00 to 18:30
  • Day off: Wednesday
  • The pavilion may be closed in rainy weather
• In winter
  • The pavilion is closed

Ticket prices for the Turkish Bath Pavilion in 2019

• Full ticket - 200 rubles.
• Reduced ticket for students (from 16 years old) and students - 100 rubles.
• Reduced ticket for pensioners of Russia and Belarus - 100 rubles.
• Visitors under 16 years old - free of charge.

The Turkish bath was built as a bath without heating. It was not used for its intended purpose, however, two washbasins were still equipped with taps for hot and cold water. This is even mentioned in one historical guidebook. There was no further documentary evidence. Most likely, this will remain a mystery of the pavilion.

The entrance to the vestibule leading to the cloakroom opened a richly ornamented portal; its walls in the lower part are covered with multi-colored marble mosaics, and in the upper part they are decorated with molding and ornamental painting. The cascading fountain is arranged in a niche separating the dressing room from the soap room; a niche carved from Olonets marble with gilding, which is generally abundantly used in the entire decoration. The soap room has an overhead light and the same ornamentation as the dressing room; two bowls with taps for warm and cold water are built into its wall.

From here, the arch leads to the most spectacular round one, the portholes let in even light. The pavilion was decorated in the then fashionable Moorish style: mosaics on the walls with oriental ornaments and patterned arches. The main treasure - It was decorated with Turkish marbles, some of which date back to the 16th - 17th centuries.

Russia. St. Petersburg Galvanoplastic and foundry establishment of Duke Maximilian of Leuchtenberg. Bronze, enamel; gilding, coloring, painting.

In December, the architect personally travels to Moscow to purchase there “small things for furnishing the Turkish bath”, because, “as he believes, real Turkish [things. - A.T.] in Moscow - at prices much more profitable than doing it to order. Monighetti acquires a chest of drawers, a table with a drawer and stools, inlaid with mother-of-pearl, bone and tortoiseshell; porcelain and copper gilded vessels and cups; copper gilded hookah and incense burner; coconut spoons, coral-trimmed chibouks with crystal mouthpieces, sambu-wood sticks and a mother-of-pearl fan. In a report to the Tsarskoye Selo Palace Administration, he writes: “Knowing exactly how I used to be abroad and in Constantinople itself, what furniture is most commonly used in Turkey and what things adorn the inside of the building like the one built according to my project, I took every possible care to find exactly such things . [...] Everything that I have redeemed is quite consistent with the character of the building and I dare to assure, as an artist, to whom the Board, entrusting this assignment, must also have confidence that no one will doubt the dignity of things.

The atmosphere of the new pavilion captivated the emperor himself: at the exhibition of works by the Imperial Porcelain and Glass Factories in the Winter Palace, Nicholas I looked after a chandelier “in the Moorish taste” and “deigned to appoint” it to the Turkish bath instead of the one proposed by Monighetti, and also sent it there “to be placed on the table [ ...] a blue cloth carpet embroidered with gold and silk, presented [...] from Countess Kiseleva”.

Subsequent overhauls of the monument and landmarks of the time turned it into one, which obviously did not contribute to the preservation of the artistic appearance of the pavilion over the past 30-40 years.

1956 year, the newspaper "Forward": "More than 30 new boats have been purchased. There are now more than 100 boats at the boat station."

Modern restoration

Pavilion in 2006

In 2002-2003, the project and the technical part of the tender documentation for the restoration of the Turkish bath pavilion were developed. The project provided for the repair of structures, waterproofing of the basement, restoration of facades and interiors, engineering equipment of the building, lighting of the building, repair of external engineering networks and landscaping of the adjacent territory. In 2005, a competition was organized and held to select contractors and firms to perform work on the restoration of the facility. A contract for repair and restoration work was concluded with a consortium consisting of LLC PSP Rest-Art and LLC Rest-Art-Project. In December 2008, in accordance with the Contract, the general contractor completed the restoration work. The completed work was accepted by the Commission for Acceptance of Works, appointed by order of the Minister of Culture of the Russian Federation.

Olga Taratynova, director of the Tsarskoye Selo State Museum-Reserve: “In the process of work, it turned out that the minaret was in an emergency condition, it deviated from the axis. I did not want to disassemble it, but the designers insisted. The minaret was rebuilt. The dome with gilded décor was restored. The pavilion lit up. For a very long time, the Turkish bath in the park served as a boat station. Its walls inside were painted over with paint. When the paint was removed, artificial marble was found under it, traces of painting. Marble fountains, taken from Turkey for Catherine, are waiting in line for restoration. These are large bowls of the 16th-17th centuries for fountains, large reliefs with inscriptions in Turkish script. The architect Monighetti used marbles that were taken from Turkey, built them into the wall, beat them. Marble panels are older than Tsarskoye Selo and St. Petersburg, they are registered as museum exhibits. Fountains will function, to them the eyeliner is made. The painting found on the domes and vaults will be restored at the expense of the federal budget. The project is collaborative."

After the restoration, the pavilion is used in the warm season as a museum, allowing to increase the number and length of tourist routes in the Catherine Park.

Sources:

1. Yakovkin I. "Description of the Tsarskoye Village", 1825, KOLO, St. Petersburg, 2008
2. Vilchkovsky S.N. "Tsarskoe Selo", 1911, reprint edition 1992
3. Sheets V. N. Ippolit Monighetti. - L .: Stroyizdat, Leningrad. department, 1976. - 144 p., ill.
4. Toeseva A. Monighetti. Collection Architects of Tsarskoye Selo. From Rastrelli to Danini / Album, ed. I. Bott. - St. Petersburg: Avrora, 2010. - 303 p.
5. Semenova G.V. "Tsarskoe Selo: familiar and unfamiliar", 2009
6. Tsarskoye Selo. Guide to palaces and parks. St. Petersburg, Aurora Publishing House, 2007, 256 p.
7. Directory "Monuments of history and culture of St. Petersburg", St. Petersburg, 2003
8. Tsylov N.I. "Atlas of the city of Tsarskoye Selo", 1857, reprint edition, 2007
9. Letters from A. Kuchumov

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In 1848, work began on the construction of the Turkish bath. In the mid-1840s, the task to create a pavilion project “in Turkish style” for the Catherine Park in memory of the victorious war between Russia and Turkey in 1828–1829 and the peace concluded in Adrianople was given to K.I. Russia. At that time, the architect was already about 70 years old, interest in his work had long since passed, and secondary orders were entrusted to him. The pavilion in the Moorish style could not be combined with the creative character of Rossi, the artist who created his own style in Russian architecture, which determined the face of St. Petersburg.

The architect used the sketches of Adrianople buildings made in 1829 - 1830 by order of Nicholas I by K. Seger and A. Desarno and almost completely repeated one of them in his version. Rossi's project was rejected, and in February 1848 his drawings were sent to I. Monighetti (http://basilius3.livejournal.com/13618.html) so that he also drafted such a bath, using marble brought from Adrianople for this decorations for such a bath. This refers to the marble details of the decoration of the pavilions in the garden of the Sultan's palace Eske-Seral - the stalls of the Sultan and the Sultana, taken out as trophies of the Russian-Turkish war from Adrianople.
The project, created by the young architect, was approved in April 1850, and from that time on, for two years, the construction of the pavilion was carried out under the direction of the architect Comuzzi, who received the contract for the work.


According to the time of creation, the Turkish bath is the last building on the territory of the Catherine Park.
Turkish bath (Turkish bath) is a small mosque with a gilded dome and a minaret topped with a spire with a crescent.


The construction of the pavilion was conceived on a cape (which required complex work to strengthen the shore), protruding into the Big Pond so that the three facades of the bath overlook the lake.


The interiors of this pavilion have come down to us only in a detailed description: “The Turkish bath inside is magnificently decorated in the Moorish style. At the entrance, a small passage leads to the dressing room; its walls in the lower part are covered with multi-colored marble mosaics, and in the upper part they are decorated with stucco and picturesque ornamentation; a cascading fountain is arranged in a niche that separates the dressing room from the soap room; a niche carved from Olonets marble with gilding, which is generally abundantly used in the entire decoration; the soap room has an overhead light and the same ornamentation as the cloakroom; two marble bowls with taps for warm and cold water are built into the walls. From here the arch leads to a round hall with a dome; portholes let in even diffused light; in the middle of the hall is a white marble pool with a painted and gilded fountain; on the walls are two bowls of water; above them are carved marble walls with ancient inscriptions; on one side of the hall, an alcove separated by columns; it has a marble scaly cascading fountain with a richly ornamented marble back; another arch leads to a small, almost dark, hexagonal room with two marble bowls; all floors are marble; the walls are part of natural, part of artificial marble.





In addition to elegant decoration, the interiors of the pavilion were lavishly decorated with "Byzantine" things, as well as furniture and lamps made according to Monighetti's drawings.
In the early years, the Turkish bath was used for its intended purpose, but later it turned into a pavilion where you could relax.
After 1917, the pavilion was mothballed due to significant damage, and after restoration work in 1939 until 1941 it was opened "as a museum".


During the Great Patriotic War, the Turkish bath was significantly destroyed by a bomb that fell into it.
Restoration work began almost immediately after the end of the war, but by 1953 only the facades had been completely restored, and the premises of the pavilion themselves began to be used as warehouses.
In the 1980s, there was a boat station here.




Restoration work began in 2003 and went on for 10 years.



At the moment, the Turkish bath pavilion functions as a museum.