The Vorontsov Palace in Alupka is a luxurious creation of 19th-century architecture that has survived to this day. Maltese Chapel Layout of the Vorontsov Palace
Talking about architectural monuments Crimea, probably the first thing that comes to mind is the Vorontsov Palace. It is located in the city, in picturesque place between the rocks and the sea. Address Vorontsov Palace Alupka st. Dvortsovoye Highway 18, telephone for inquiries +7 3654 722 281.
Geographic coordinates of the Vorontsov Palace on the map of Crimea - N 44.419861, E 34.055972.
Vorontsov Palace is one of the most luxurious buildings on the peninsula, its majesty and splendor are simply breathtaking. And the English architect Edward Blore worked on this grandiose project. It took him about a year to introduce him to Count Vorontsov, the owner of these lands. In 1828, construction of the Vorontsov Palace began, and it acquired its final form only two decades later. For a long time this estate belonged to Count Vorontsov, later he had other owners, and in 1921 it became state property and a museum was created within the walls of the palace.
The material for the construction of the Vorontsov Palace was diabase, which was mined here in . The palace is unusual in that its facades are made in different architectural styles. For example, the north façade is in keeping with the Tudor architectural style. The facade facing the sea is made in the Mauretanian style. In general, the entire structure can be called neo-Gothic. By the way, many films were filmed on the territory of the Vorontsov Palace, including those based on Shakespeare’s books. This was due to the similarity architectural compositions palace with the English style of that time.
All Vorontsov Palace consists of five buildings, inside of which there is a chapel, a library, a billiard room, a dining room, and a winter garden. In total, the palace has 150 rooms. Probably every visitor to the Vorontsov Palace has a photograph with one of the white marble lions that “guard” the estate on the south side. Together they form the "Lion's Terrace". The halls of the modern museum display collections of paintings, furniture, and porcelain. All of them have considerable historical value.
The Vorontsov Palace is certainly beautiful, but its splendor is complemented by the park, spread over 40 hectares around it. This park is worthy of special attention. Initially, the German gardener Karl Kebach worked on the creation of the park. He designed the park in the form of an amphitheater, and placed all its attributes very logically. More than 200 species of flora from different parts of the world grow here.
Walking around you can see a very unusual structure called “Chaos”. This name is fully justified, since the structure consists of huge pieces of diabase, and its height is more than 10 meters. “Chaos” is located within the so-called Upper Park, which is characterized by severity and rockiness. And the Lower Park includes delicate magnolias, slender cypress trees, fountains, pavilions and lakes. The combination of the incongruous makes Vorontsovsky Park amazing and unforgettable, so visiting it and the Vorontsov Palace will be interesting for everyone.
Vorontsov Palace on the map of CrimeaOne of the most interesting buildings in St. Petersburg is the Maltese Catholic Chapel, hidden from the eyes of citizens and tourists behind the facade of the Suvorov School.
How the Maltese Chapel appeared in St. Petersburg
By the end of the eighteenth century Russian fleet became the main threat to the Ottoman Empire's fleet. This led to a rapprochement between the Order of Malta and the Russian Tsar. In 1797, Paul I organized on the territory Russian Empire new main priory of the order. The Hospitallers needed a patron since they were expelled from Malta by Napoleon.
Emperor Paul greatly favored the Maltese. On the territory of Russia, he provided members of the Order with “all those distinctions, advantages and honors that the famous Order enjoys in other places.” Three commanderies were organized, the head of the Main Priory in Russia was introduced to the State Council. Russian nobles were encouraged in every possible way to join it.
In 1799, Emperor Paul awarded the Commander's Cross to commander Alexander Suvorov. The Hospitallers opened the Corps of Pages in St. Petersburg, which produced many military leaders. The Corps of Pages later became the Suvorov School. It was then that a Catholic (Maltese) chapel appeared on the territory of the military school.
However, Paul’s flirting with the Catholic Church, his rapprochement with Rome did not like the Russian Orthodox Church (Russian Orthodox Church) and the entire policy of the emperor towards a foreign religious order was another, among many others, reason for his murder in St. Michael’s Castle in St. Petersburg on the night of March 13 1801.
The new Emperor Alexander I, in the very first months of his reign (August 1, 1801), renounced the title of Grand Master of the Order and ordered the Maltese cross to be removed from the state emblem.
However, the Corps of Pages (now the Suvorov School is based in the building) and the Maltese Chapel remained in St. Petersburg. Lately she has served as concert hall. So in order to look at this unusual building for our latitudes, you need to buy a concert ticket.
p.s. Unfortunately, the chapel is currently under renovation and there are no concerts. But they do conduct excursions. Official website of the chapel:
Maltese Chapel - catholic church Order of the Knights of Malta, built by Giacomo Quarenghi at the end of the 18th century. The chapel is part of the architectural complex of the Vorontsov Palace in St. Petersburg (attached to the main building of the palace from the garden side).
Story
The Vorontsov Palace was erected by the architect B. F. Rastrelli in -1757 for the chancellor Count M. I. Vorontsov. The construction and decoration of the palace required such large investments that in 1763 Count Vorontsov was forced to cede it to the Russian treasury for debts. The building was empty until 1770, and later began to be used as a guest house. At various times, the palace was occupied by Prince Heinrich of Prussia, Prince of Nassau-Siegen and Count I. A. Osterman. After the accession of Paul I to the throne and his assumption of the title of Protector and then Grand Master of the Order of Malta, the Vorontsov Palace was given to the Knights of Malta, who were forced to seek refuge after Napoleon Bonaparte's capture of the island of Malta in 1798.
Chapel in the 20th and 21st centuries
Architecture and decoration
The temple has the shape of a rectangle with a barrel vault. Two rows of artificial marble columns divide the interior of the chapel into three naves. The choirs are located above the side naves. The planes of the walls are enriched with decorative arches, sculptures of angels, Maltese crosses and plaster garlands. The ceiling of the church consists of semi-circular box vaults, covered with paintings consisting of floral ornaments and rosettes, and plaster garlands.
The altar part is an apse with columns located close to the walls. In the center there is a marble altar, behind which there was an altarpiece of John the Baptist (patron saint of the Order of Malta) by A. I. Charlemagne, created by the artist in 1861. To the right of the altar, under a canopy, stood the crimson velvet chair of the grand master of the order. On the left, under a marble plaque with an inscription about the founding and solemn consecration of the church, there is a bishop's chair and several stools. Here, in front of the altar barrier, there were embassy benches with velvet cushions. In the middle part of the hall there were 14 wooden benches with cushions covered with red cloth.
The altarpiece was in the Maltese Chapel until 1928, then it was transferred to the Museum of Religion and Atheism, and from there in 1932 it went to the State Russian Museum. The canvas was stored in the collections of the Russian Museum without a stretcher or frame, wound on a drum, as a result of which it received numerous damages. In February 2006, the leadership of the Russian Museum decided to transfer the altarpiece to the Maltese Chapel for temporary storage. The restoration of the canvas was carried out in the workshops of the Military Historical Museum of Artillery, Engineering Troops and Signal Corps. In September 2007, the image was returned to its historical place.
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Excerpt characterizing the Maltese Chapel
- Everyone has their own secrets. We won’t touch you and Berg,” Natasha said, getting excited.“I think you won’t touch me,” said Vera, “because there can never be anything bad in my actions.” But I’ll tell mommy how you treat Boris.
“Natalya Ilyinishna treats me very well,” said Boris. “I can't complain,” he said.
- Leave it, Boris, you are such a diplomat (the word diplomat was in great use among children in the special meaning that they attached to this word); It’s even boring,” Natasha said in an offended, trembling voice. - Why is she pestering me? You will never understand this,” she said, turning to Vera, “because you have never loved anyone; you have no heart, you are only madame de Genlis [Madame Genlis] (this nickname, considered very offensive, was given to Vera by Nikolai), and your first pleasure is to cause trouble for others. “You flirt with Berg as much as you want,” she said quickly.
- Yes, I certainly won’t start chasing a young man in front of guests...
“Well, she achieved her goal,” Nikolai intervened, “she said unpleasant things to everyone, upset everyone.” Let's go to the nursery.
All four, like a frightened flock of birds, got up and left the room.
“They told me some troubles, but I didn’t mean anything to anyone,” said Vera.
- Madame de Genlis! Madame de Genlis! - Laughing voices said from behind the door.
Beautiful Vera, who had such an irritating, unpleasant effect on everyone, smiled and, apparently unaffected by what was said to her, went to the mirror and straightened her scarf and hairstyle. Looking at her beautiful face, she apparently became even colder and calmer.
The conversation continued in the living room.
- Ah! chere,” said the countess, “and in my life tout n”est pas rose. Don’t I see that du train, que nous allons, [not everything is roses. - given our way of life,] our condition will not last long for us! And all this is a club, and its kindness. We live in the village, do we relax? Theaters, hunting and God knows what. Well, how did you arrange all this? I’m often surprised at you, Annette. You, at your age, ride in a carriage alone, to Moscow, to St. Petersburg, to all the ministers, to all the nobility, you know how to get along with everyone, I’m surprised, how did this work out? I don’t know how to do any of this.
- Oh, my soul! - answered Princess Anna Mikhailovna. “God forbid you know how hard it is to remain a widow without support and with a son whom you love to the point of adoration.” “You’ll learn everything,” she continued with some pride. – My process taught me. If I need to see one of these aces, I write a note: “princesse une telle [princess so-and-so] wants to see so-and-so,” and I drive myself in a cab at least two, at least three times, at least four times, until I achieve what I need. I don't care what anyone thinks of me.
- Well, well, who did you ask about Borenka? – asked the Countess. - After all, yours is already a guard officer, and Nikolushka is a cadet. There is no one to bother. Who did you ask?
- Prince Vasily. He was very nice. Now I agreed to everything, reported to the sovereign,” said Princess Anna Mikhailovna with delight, completely forgetting all the humiliation through which she went to achieve her goal.
- That he has aged, Prince Vasily? – asked the Countess. – I haven’t seen him since our theaters at the Rumyantsevs’. And I think he forgot about me. “Il me faisait la cour, [He was trailing after me,” the countess recalled with a smile.
“Still the same,” answered Anna Mikhailovna, “kind, crumbling.” Les grandeurs ne lui ont pas touriene la tete du tout. [The high position did not turn his head at all.] “I regret that I can do too little for you, dear princess,” he tells me, “order.” No, he is a nice man and a wonderful family member. But you know, Nathalieie, my love for my son. I don't know what I wouldn't do to make him happy. “And my circumstances are so bad,” Anna Mikhailovna continued with sadness and lowering her voice, “so bad that I am now in the most terrible situation. My miserable process is eating up everything I have and is not moving. I don’t have, you can imagine, a la lettre [literally] no ten-kopeck piece of money, and I don’t know how to outfit Boris. “She took out a handkerchief and began to cry. “I need five hundred rubles, but I have one twenty-five-ruble note.” I am in this position... My only hope now is Count Kirill Vladimirovich Bezukhov. If he doesn’t want to support his godson - after all, he baptized Borya - and assign him something for his maintenance, then all my troubles will be lost: I will have nothing to outfit him with.
The Countess shed tears and silently thought about something.
“I often think, maybe this is a sin,” said the princess, “and I often think: Count Kirill Vladimirovich Bezukhoy lives alone... this is a huge fortune... and what does he live for? Life is a burden for him, but Borya is just beginning to live.
“He will probably leave something for Boris,” said the countess.
- God knows, chere amie! [dear friend!] These rich people and nobles are so selfish. But I’ll still go to him now with Boris and tell him straight out what’s going on. Let them think what they want about me, I really don’t care when my son’s fate depends on it. - The princess stood up. - Now it’s two o’clock, and at four o’clock you have lunch. I'll have time to go.
And with the techniques of a St. Petersburg business lady who knows how to use time, Anna Mikhailovna sent for her son and went out into the hall with him.
“Farewell, my soul,” she said to the countess, who accompanied her to the door, “wish me success,” she added in a whisper from her son.
– Are you visiting Count Kirill Vladimirovich, ma chere? - said the count from the dining room, also going out into the hallway. - If he feels better, invite Pierre to dinner with me. After all, he visited me and danced with the children. Call me by all means, ma chere. Well, let's see how Taras distinguishes himself today. He says that Count Orlov never had such a dinner as we will have.
“Mon cher Boris, [Dear Boris,”] said Princess Anna Mikhailovna to her son when Countess Rostova’s carriage, in which they were sitting, drove along the straw-covered street and drove into the wide courtyard of Count Kirill Vladimirovich Bezukhy. “Mon cher Boris,” said the mother, pulling her hand out from under her old coat and with a timid and affectionate movement placing it on her son’s hand, “be gentle, be attentive.” Count Kirill Vladimirovich is still your godfather, and your future fate depends on him. Remember this, mon cher, be as sweet as you know how to be...
“If I had known that anything other than humiliation would come of this...” the son answered coldly. “But I promised you and I’m doing this for you.”
Despite the fact that someone’s carriage was standing at the entrance, the doorman, looking at the mother and son (who, without ordering to report themselves, directly entered the glass vestibule between two rows of statues in niches), looking significantly at the old cloak, asked who they wanted whatever, the princesses or the count, and, having learned that the count, said that their Lordships are worse off now and their Lordships do not receive anyone.
“We can leave,” the son said in French.
- Mon ami! [My friend!] - said the mother in a pleading voice, again touching her son’s hand, as if this touch could calm or excite him.
Boris fell silent and, without taking off his overcoat, looked questioningly at his mother.
“Darling,” Anna Mikhailovna said in a gentle voice, turning to the doorman, “I know that Count Kirill Vladimirovich is very ill... that’s why I came... I’m a relative... I won’t bother you, dear... But I just need to see Prince Vasily Sergeevich: because he is standing here. Report back, please.
The doorman sullenly pulled the string upward and turned away.
“Princess Drubetskaya to Prince Vasily Sergeevich,” he shouted to a waiter in stockings, shoes and a tailcoat who had run down from above and was peeking out from under the ledge of the stairs.
The mother smoothed out the folds of her dyed silk dress, looked into the solid Venetian mirror in the wall and walked briskly up the staircase carpet in her worn-out shoes.
“Mon cher, voue m"avez promis, [My friend, you promised me,” she turned again to the Son, exciting him with the touch of her hand.
The son, with lowered eyes, calmly followed her.
They entered the hall, from which one door led to the chambers allocated to Prince Vasily.
While the mother and son, going out into the middle of the room, intended to ask for directions from the old waiter who jumped up at their entrance, a bronze handle turned at one of the doors and Prince Vasily in a velvet fur coat, with one star, in a homely manner, came out, seeing off the handsome black-haired a man. This man was the famous St. Petersburg doctor Lorrain.
And our Golden Fleece 2017 quiz continues, and now we have a question - The architectural complex of this palace includes a Catholic chapel.
Answer options:
A) Stroganovsky
B) Tauride
C) Vorontsovsky
D) Anichkov
The correct answer to the question is C) Vorontsovsky
The Catholic chapel is part of the Vorontsov Palace complex in St. Petersburg. Built according to the design of the famous Rastrelli, it is distinguished by its exquisite architecture.
The Vorontsov Palace went to the treasury for debts in the second half of the 18th century. Paul, having accepted patronage of the Order of Malta, handed it over to the knights. The Order included both Catholics and Orthodox Christians. A separate Catholic Chapel was built for Catholics. For Orthodox knights, the house church served as a temple. And the Maltese Cross as a symbol of the Order.
Although in essence, types of the cross are already human fantasy. Orthodox, Catholic, Maltese - that's not the point. Christians worship not the form of the Cross, or even the Cross itself, but the power of Christ crucified on the cross.
Vorontsov Palace is a palace in the central part of St. Petersburg, located on Sadovaya Street opposite Gostiny Dvor. Built by the architect Count Bartolomeo Francesco Rastrelli in 1749-1757 for Chancellor Mikhail Illarionovich Vorontsov. The palace is distinguished by the rich, elegant decoration of its facades and luxurious interior decoration. The palace has more than 50 state halls and rooms. The palace is decorated with stucco, gilded carvings and other elements characteristic of the Baroque style.
Vorontsov Palace is the main building on the territory of the estate of Count Mikhail Illarionovich Vorontsov, a noble nobleman, state chancellor, participant in the palace coup of 1741, which brought Empress Elizabeth Petrovna to power.
The construction of the palace was carried out according to the design of the court architect of Elizabeth Petrovna - Federico Bartolomeo Rastrelli in the period from 1749 to 1757.
The estate occupied a vast area between Sadovaya Street and the Fontanka River. Breaking the traditions of urban estate construction, Rastrelli placed the palace not near the river, but closer to Sadovaya, separating the building from it with an artistic fence.
The border of the extensive courtyard-garden, located behind the fence, is formed by the main building of the palace and its side wings. A similar layout with the letter “P” has long been called “peace” in Russia. 
The main three-story building with a quadrangular courtyard is located in the depths of the estate. Two symmetrical two-story wings are brought forward and placed along the red line of the street. The central part of the main facade is decorated with double columns and pilasters, the windows are decorated with decorative frames. 
The palace was built in the style of a magnificent and elegant Baroque. As you know, Rastrelli was a master of this style, which reached its peak in Russian architecture during the reign of Elizabeth Petrovna. This is evidenced by such names of this style of the mid-18th century as “Rastrelli Baroque” and “Elizabethan Baroque”.
Behind the main building there was a regular garden, stretching to the Fontanka, with numerous pools, fountains, alleys of trimmed trees, and other “ventures”.
Above the one-story building facing the park, there was an open terrace overlooking the river. From here there was a beautiful view of the fireworks taking place in the Anichkov Garden. The interiors, also decorated in Baroque traditions, were also luxurious. Fifty ceremonial halls were located in an enfilade pattern along the main facade and in the side buildings. In the central part of the Vorontsov Palace there was a large double-height hall; another spacious hall housed the Vorontsov Library, then one of the best in St. Petersburg.
In 1763, M.I. Vorontsov was forced to cede the palace to the treasury to pay off debts for 217,600 rubles, since construction required huge investments. 
After the accession of Emperor Paul I to the throne in the late 1790s, the palace was transferred to the Order of Malta, and the chapter of Russian orders was also located here. The former Vorontsov Palace was ordered to be called the “Castle of the Knights of Malta.” The order's coat of arms was strengthened above the lattice gates of the palace: a white Maltese cross with four bifurcating rays on a red background.
Two temples were built on the territory of the estate - Orthodox Church and the Catholic Chapel of the Order of the Knights of Malta (architect Giacomo Quarenghi).
Later, the Corps of Pages was located in the palace. For the needs of this educational institution, which was located in the palace from 1810 to 1918, in 1827 the premises were rebuilt according to the design of the architect Alexander Egorovich Staubert; At the same time, the previous baroque decoration of the interiors was lost. 
Today, organ music concerts are held in the Maltese Chapel. The decoration of the interior of the chapel is well preserved - a colonnade of the Corinthian order, paintings, stucco decoration of the walls, lined with artificial marble. The restoration of the chapel was carried out in 1927 by the architect N.P. Nikitin.
After the revolution, the First Petrograd Infantry School for the command staff of the Red Army was located here, on the basis of which the Leningrad Infantry School named after. S. M. Kirov. In 1958, the building was completely given over to the Suvorov Military School.
