Vorontsov Palace view. Maltese Chapel of the Vorontsov Palace
Wonderful Maltese Chapel Vorontsov Palace... Closed for the second year for visits.
Under Paul I, the Order of Malta was granted a palace, after which the Russian Emperor naturally became the Grand Master of the Order of Malta. The Maltese Chapel is a Catholic church of the Order of the Knights of Malta, built by order of Emperor Paul I in 1800 by the architect Giacomo Quarenghi. The chapel is part of the Vorontsov Palace. The extension on the east side of the Catholic Chapel Palace building for the Chapter of the Order of Malta dates back to 1798-1800.
The chapel was built by a worthy colleague and unwitting rival Francesco Rastrelli, one of the spokesmen for new architectural ideas - Giacomo Quarenghi.
The interior decoration of the chapel is a Corinthian colonnade, the walls are faced with artificial marble.
The interior of the Maltese Chapel was restored for the 300th anniversary of St. Petersburg.
By creating this small building next to the Rastrelli Palace, Quarenghi slightly violated his usual classical severity. He made an attempt to soften the line of the facade by introducing rounded profiles at the junction of the new building with the old building. Without deliberate emphasis, only with these seemingly insignificant details, he tried to connect the artistic appearance of the chapel with the architecture of the Rastrelli building.
Until now, the interior decoration of the chapel is well preserved - a colonnade of the Corinthian order, painting, stucco decoration of the walls, faced with artificial marble. Thorough restoration of the chapel was carried out in 1927 by the architect N.P. Nikitin.
The hall of the Maltese Chapel, as well as the church hall in the palace, acquired special value as the interiors of Quarenghi, because almost all the others of this palace complex on Sadovaya subsequently underwent significant alterations or even died.
The "Walker" organ has been restored in the Chapel for the 300th anniversary of St. Petersburg. Unfortunately, there was no way to get to it - the organist had the key to the door, who was naturally absent, since the chapel no longer accepts people since 2012 - that is, it is completely closed.
St. Petersburg owes its connection with the Order of Malta to Emperor Paul I, who in 1798 accepted the title of Master - the highest religious rank of this knightly union. Thanks to him, the Maltese cross appeared on the Russian coat of arms for a time, the Order of St. John of Jerusalem appeared among state awards, and the emperor planned to make Malta a Russian province. But these plans were not destined to come true due to the tragic death of Paul I.
Meanwhile, ties with the Order of Malta were not completely severed: it consisted of Alexander Suvorov, Alexander II, Alexander III and Nicholas II. The fascination of warriors and monarchs with this religious movement is reflected in urban planning, and today in St. Petersburg you can find places associated with Maltese symbols.
The most striking of them, of course, remains the Maltese Chapel, inaugurated on April 29, 1800. SPB.AIF.RU tells about it and four other "Maltese" sights of the Northern capital.
Maltese chapel
Sadovaya street, 26
The Maltese Chapel was designed by the architect Giacomo Quarenghi and was originally conceived by Paul I as the Catholic Church of the Order of the Knights of Malta. It is part of the Vorontsov Palace, which today houses the Suvorov Military School. The palace, which Francesco Bartolomeo Rastrelli created in the 18th century for Count Vorontsov, changed many owners, and as a result, Paul I, taking the title of Protector, and then Grand Master of the Order, gave the Vorontsov Palace to the Knights of Malta.
Maltese Chapel in the drawing of Giacomo Quarenghi. Photo: Commons.wikimedia.org
Continuing the ensemble created by Rastrelli, Quarenghi built a chapel in the spirit of the Renaissance. The temple has the shape of a rectangle with a cylindrical vault. Two rows of artificial marble columns divide the interior of the chapel into three naves. Behind the marble altar is the altarpiece by the artist A.I. Charlemagne "John the Baptist" (the holy prophet and forerunner of Jesus Christ, John the Baptist is the heavenly patron and patron of the Order of Malta). To the right of the altar, under a canopy, stood the crimson velvet armchair of the Grand Master (Grand Master) of the order.
The chapel was consecrated in June 1800, and a year later Paul I was killed in the Engineering Castle. His successor, Alexander I, renounced the title of Grand Master of the order, but retained the title of his protector. The Maltese cross has been removed from the Russian state emblem. In 1803, Alexander I resigned from the title of protector, and in 1817 it was imperially announced that "the order no longer exists in the Russian Empire."
For a while, the chapel operated like an ordinary Catholic church. In the middle of the 19th century, a chapel was added to it, where the ashes of the former trustee of Duke Maximilian of Leuchtenberg were laid to rest.
In 1928, the building of the Maltese Chapel was transferred under the club to the infantry school. Sklyansky, then the Leningrad twice Red Banner Military School named after. CM. Kirov, and since 1955 it belongs to the Suvorov Military School. The interior of the Maltese Chapel was restored for the 300th anniversary of St. Petersburg.
Mikhailovsky castle
Sadovaya street, 2
The Mikhailovsky Castle, or the Engineer's Castle, is an example of Paul I's extravagant preferences. The palace became the last home and place of the emperor's death, it embodied the autocratic's dreams of a "knightly stronghold."
Mikhailovsky Castle - the dream and death of Paul I. Photo: Commons.wikimedia.org / Aleks G
The palace, which Pavel stubbornly called "the castle" (by the way, he even called the Winter Palace that way), in terms of its architectural design, it was unusual for St. Petersburg. It was erected in extreme haste according to the project of Vincenzo Brenna and was completed by the time the emperor agreed to accept the title of Grand Master of the order. It was planned that meetings and solemn ceremonies of the Maltese cavaliers would be held here. That is why the image of the Maltese cross is so often repeated in the interiors.
On the central wall of the Main Staircase, a bronze coat of arms of the Russian Empire was installed in the version approved by Paul - with a cross. The coat of arms is the only Maltese relic in the castle that has survived to this day.
One of controversial issues its mysterious reddish color remains in the history of the castle. There is a beautiful legend that the walls were painted in the color of a glove, which was dropped at the ball by the Emperor's favorite Anna Gagarina. The second version says that brick red is the traditional color for the Order of Malta.
Today, a branch of the Russian Museum is located in the interiors of the Engineering Castle.
Cathedral of the Savior Not Made by Hands in the Winter Palace
Cathedral of the Savior Not Made by Hands (or Big Church Winter Palace) was founded in 1753 as an Orthodox palace church. Francesco-Bartolomeo Rastrelli performed it in the Rococo style. For many years it was the home church of the imperial family.
This is how the cathedral looked from the inside until 1917. Photo: Commons.wikimedia.org
Three ancient relics of the Hospitallers were brought here in December 1799: a particle of the tree of the Cross of the Lord, the Filerma Icon of the Mother of God and the right hand of St. John the Baptist, presented to Paul I in October in Gatchina. In memory of this event, in 1800, the Holy Synod established a holiday on October 12 (25) in honor of "the transfer from Malta to Gatchina of a part of the tree of the Life-giving Cross of the Lord, the Filerma Icon of the Mother of God and the right hand of St. John the Baptist." Today the right hand of John the Baptist is kept in a monastery in the Montenegrin town of Cetinje.
Since 1918, the cathedral has been one of the halls of the Hermitage Museum used for exhibitions.
Church of the Nativity of John the Baptist
Kamennoostrovsky prospect, 83
The Church of the Nativity of John the Baptist, or St. John's Church, was built in 1778 according to the project of Yuri Felten at the invalid home of the sailors of the Baltic Fleet. This building in the style of pseudo-Gothic can be mistaken for a Catholic church from a distance due to the architecture uncharacteristic for Orthodox churches: the walls are made of red brick with a pointed gray lancet dome. Lancet barred windows, a narrow canopy over the entrance, and a wooden iconostasis remind of the Gothic style.
There was a Maltese cemetery behind the church for some time. Photo: Commons.wikimedia.org / IKit
During the time of Paul I, the church was handed over to the Order of Malta, and a cemetery for the Knights of Malta was established with it. The churchyard was closed after the accession of Alexander I to the imperial throne. In 1807, the remains of the cavaliers were transferred to the Smolensk cemetery. After the construction of the Kamennoostrovsky palace, the church was transferred to him. Here Alexander Sergeevich Pushkin baptized his two children.
The church was closed on March 15, 1938, and various organizations were housed in its ruined interiors. It was returned to the parish in 1989, and services were resumed in November 1990. Today the temple belongs to the St. Petersburg Diocese of the Russian Orthodox Church, is part of the Petrograd Deanery District.
Cantemir Palace
Millionnaya Street, 7
The outstanding Italian diplomat Julius Litta, a Maltese cavalier and the youngest general in the history of Russia, lived in St. Petersburg on Millionnaya Street for more than 40 years - he was awarded the rank at the age of 26. Such attention to the Italian was explained by the desire of Catherine II to strengthen ties with the Order of Malta.
Litta appeared in St. Petersburg, first as an experienced naval officer, and then as an envoy of the Order of Malta at the Russian court. By the way, it was he who brought Leonardo da Vinci's Madonna to Russia, which is displayed today in the Hermitage under the code name Madonna Litta.
The house where Litta lived has three addresses at the same time. Photo: Commons.wikimedia.org / Helvin spb
House for Marble palace has three addresses at once: Millionnaya Street No. 7, Marble Lane No. 1 and Palace Embankment No. 8. In 1715, at the behest of the Moldovan aristocrat Dmitry Cantemir, Francesco-Bartolomeo Rastrelli built a baroque palace on this site. In 1743, the church of the great martyr Theodore Stratilates was built on the top floor. Later, Count Alexei Bestuzhev-Ryumin, Count Vladimir Orlov, Count Pavel Skavronsky lived here. Skavronsky's widow Ekaterina Vasilievna married Litt, who settled with her in the palace. For them, the architect Luigi Rusca rebuilt one of the buildings of the palace in the classicism style. After the death of Yulia Litta, the mansion was taken over by the Ministry of Finance, and now it is occupied by the Maritime Register of the Russian Federation and the Institute of Culture.
Vorontsov Palace.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 its rich, elegant decoration of the facades and lush interior decoration. There are more than 50 ceremonial halls and rooms in the palace. The palace is decorated with stucco, gilded carving and other elements typical of the Baroque style.
The 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 1741 palace coup that brought Empress Elizabeth Petrovna to power.
The construction of the palace was carried out according to the project 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 manor construction, Rastrelli placed the palace not by the river, but closer to Sadovaya, separating the building from it with a fence of artwork.
The border of the vast courtyard-garden, spread out behind the fence, is formed by the main building of the palace and its side wings. A similar layout with the letter "P" in Russia has long been called "rest". 
The main three-storey building with a quadrangular courtyard is located in the back of the estate. Two symmetrical two-storey outbuildings 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 platbands. 
The palace was built in a lush and elegant baroque style. 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 middle of the 18th century as "Rastrellian Baroque" and "Elizabethan Baroque".
Behind the main building, a regular garden was laid out, stretching to the Fontanka, with numerous pools, fountains, avenues of trimmed trees, and other "ventures".
Above the one-storey building overlooking the park, there was an open terrace overlooking the river. From here there was a beautiful view of the fireworks that were arranged in the Anichkov Garden. The interiors, decorated in the same manner in the Baroque traditions, were also distinguished by luxury. Fifty ceremonial halls were located on the enfilade principle along the main facade and in the side buildings. In the central part of the Vorontsov Palace there was a large double-height hall, in another spacious hall there was Vorontsov's library, then one of the best in St. Petersburg.
In 1763, MI Vorontsov was forced to cede the palace to the treasury at the expense of debts for 217,600 rubles, since the construction required huge investments. 
After the accession to the throne of Emperor Paul I in the late 1790s, the palace was handed over 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". Above the lattice gates of the palace, the order coat of arms was strengthened: on a red background, a white Maltese cross with four bifurcated rays.
Two churches were built on the estate - an Orthodox church and a Catholic chapel of the Order of the Knights of Malta (architect Giacomo Quarenghi).
Later, the building of Pages was housed 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 project of the architect Alexander Yegorovich Staubert; at the same time, the previous baroque interior decoration was lost. 
Organ concerts are held in the Maltese Chapel today. The interior decoration of the chapel is well preserved - the Corinthian colonnade, painting, stucco decoration of the walls faced 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 V.I. S. M. Kirov. In 1958, the building was completely given over to the Suvorov Military School.
Maltese chapel- Catholic Church of the Order of the Knights of Malta, built by Giacomo Quarenghi at the end of the 18th century. The chapel is included in architectural complex Vorontsov Palace in St. Petersburg (attached to the main building of the palace from the side of the garden).
History
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. Until 1770, the building was empty, and later it began to be used as a guest house. V different time the palace was occupied by Prince Henry of Prussia, Prince of Nassau-Siegen and Count I. A. Ostermann. After Paul I ascended the throne and assumed 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 seized the island of Malta in 1798.
Chapel in the XX and XXI centuries
Architecture and decoration
The temple has the shape of a rectangle with a cylindrical vault. Two rows of artificial marble columns divide the interior of the chapel into three naves. Choirs are located above the side aisles. The planes of the walls are enriched with decorative arches, sculptures of angels, Maltese crosses and plaster garlands. The plafond of the church consists of semicircular box vaults covered with painting, 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 was the 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, was the crimson velvet armchair of the Grand Master of the Order. On the left, under a marble board with an inscription about the foundation and solemn consecration of the church, there is a bishop's chair and several stools. Here, in front of the altar barrier, there were benches for the embassy with velvet cushions. In the middle 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 ended up in the State Russian Museum. The canvas was kept in the funds of the Russian Museum without a stretcher and frame, wound on a drum, as a result of which it received numerous damages. In February 2006, the management 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 from the Maltese Chapel
- Everyone has their own secrets. Berg and I don't touch you, ”Natasha said, getting excited.“I don't think you touch it,” Vera said, “because there can never be anything bad in my actions. But I'll tell my mother how you treat Boris.
“Natalya Ilinishna 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); even boring, ”Natasha said in an offended, trembling voice. - Why is she sticking to 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 Janlis] (this nickname, considered very offensive, was given to Vera by Nikolai), and your first pleasure is to make trouble for others. You flirt with Berg as much as you want, ”she said soon.
- Yes, I surely will not run in front of the guests after the young man ...
- Well, I got it, - Nikolai intervened, - she said all the troubles, 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 trouble, but I’m nothing to anyone,” Vera said.
- Madame de Genlis! Madame de Genlis! - said laughing voices from behind the door.
The beautiful Vera, who had such an annoying, unpleasant effect on everyone, smiled and, apparently unaffected by what was said to her, went to the mirror and straightened her scarf and hair. Looking at her beautiful face, she apparently became even colder and calmer.
The conversation continued in the drawing-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 all roses. - with our way of life,] our state will not last long! And all this is a club, and its kindness. In the village we live, do we rest? Theaters, hunting and God knows what. But what to say about me! Well, how did you arrange it? I often wonder at you, Annette, how is it You, at your age, ride in a carriage alone, to Moscow, to Petersburg, to all the ministers, to all the nobility, you know how to get along with everyone, I am surprised! Well, how did it work? Well, I can’t do any of this.
- Oh, my soul! - answered Princess Anna Mikhailovna. - God forbid you learn how hard it is to remain a widow without support and with your son, whom you love to adoration. You will learn everything, ”she continued with some pride. - My process taught me. If I need to see any of these aces, I write a note: "princesse une telle [princesse une telle] wishes to see such and such" and I drive myself in a cab at least two, at least three times, at least four, until I get what I need. I don't care what anyone thinks of me.
- Well, how did you ask about Borenka? The countess asked. - After all, now yours is already an officer of the guard, and Nikolushka is going as a cadet. There is no one to bother. Whom did you ask?
- Prince Vasily. He was very nice. Now he agreed to everything, reported to the emperor, - said Princess Anna Mikhailovna with delight, completely forgetting all the humiliation she went through to achieve her goal.
- That he has grown old, Prince Vasily? The countess asked. - I have not seen him from our theaters at the Rumyantsevs. And I think he forgot about me. Il me faisait la cour, [He dragged after me,] - the countess remembered with a smile.
- All the same, - answered Anna Mikhailovna, - amiable, disintegrates. Les grandeurs ne lui ont pas touriene la tete du tout. [His high position did not turn his head in the least.] "I regret that I can do too little for you, dear princess," he tells me, "give orders." No, he is a glorious person and wonderful dear. But you know, Nathalieie, my love for my son. I don’t know what I wouldn’t do for his happiness. And my circumstances are so bad, - continued Anna Mikhailovna with sadness and lowering her voice, - so bad that I am now in the most terrible situation. My unhappy process eats up everything I have and does not progress. I don’t, you can imagine, a la lettre [literally] I don’t have a dime of money, and I don’t know what to outfit Boris with. She took out her handkerchief and began to cry. - I need five hundred rubles, and I have one twenty-five-ruble note. I am in this position ... My only hope is now on Count Kirill Vladimirovich Bezukhov. If he doesn't want to support his godson - after all, he baptized Borya - and assign him something for maintenance, then all my troubles will be lost: I will have nothing to outfit him with.
The Countess burst into tears and silently pondered something.
“I often think, maybe it’s a sin,” said the princess, “but often I think: Count Kirill Vladimirovich Bezukhoi lives alone… this is a huge fortune… and why does he live? Life is a burden for him, and Bora is just starting to live.
"He'll probably leave something for Boris," said the Countess.
- God knows, chere amie! [dear friend!] These rich men and nobles are so selfish. But I will still go to him with Boris and tell him frankly what the matter is. Let them think of me what they want, I really don't care when the fate of my son depends on it. - The princess got up. “Now it's two o'clock, and at four you dine. I'll have time to go.
And with the receptions of a Petersburg business lady who knew 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 going to Count Kirill Vladimirovich, ma chere? - said the count from the dining room, going out into the hall too. - If it is better for him, invite Pierre to dine with me. After all, he visited me, danced with the children. Call me by all means, ma chere. Well, let's see how Taras is different today. He says that Count Orlov never had such a dinner as we will have.
“Mon cher Boris, [Dear Boris,]” Princess Anna Mikhailovna said 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 Bezukhoi. “Mon cher Boris,” said the mother, stretching her hand out from under the old cloak and placing it on her son’s arm with a timid and affectionate movement, “be gentle, be attentive. Count Kirill Vladimirovich is still your godfather, and your future fate depends on him. Remember this, mon cher, be nice, how can you be ...
- If only I knew that something would come of it, except humiliation ... - answered the son coldly. “But I promised you and I am doing it for you.
Despite the fact that someone's carriage was standing at the entrance, the doorman, looking around the mother and son (who, without ordering to report about themselves, entered the glass passage between two rows of statues in niches), significantly looked at the old cloak, asked whom they whatever, princess or count, and, having learned that the count, said that their excellency is now worse and their excellency does not accept 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 soothe or excite him.
Boris fell silent and, without taking off his greatcoat, looked inquiringly at his mother.
- My dear, - Anna Mikhailovna said in a gentle voice, addressing the doorman, - I know that Count Kirill Vladimirovich is very sick ... then I came ... I am a relative ... I will not bother, my dear ... And I only need to see Prince Vasily Sergeevich: because he is standing here. Please report.
The doorman sullenly pulled the cord upward and turned away.
“Princess Drubetskaya to Prince Vasily Sergeevich,” he shouted to a waiter in stockings, shoes and a tailcoat who had escaped from above and from under the ledge of the stairs.
Mother smoothed out the folds of her dyed silk dress, looked into the one-piece Venetian mirror in the wall, and cheerfully walked up the carpet of the stairs in her worn-out shoes.
- Mon cher, voue m "avez promis, [My friend, you promised me,] - she turned to her Son again, exciting him with a touch of her hand.
The son, lowering his eyes, calmly followed her.
They entered the hall, from which one door led to the chambers assigned 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, like home, went out, seeing off the handsome black-haired a man. This man was the famous Petersburg doctor Lorrain.
Talking about architectural monuments Crimea, perhaps the first thing that comes to mind is the Vorontsov Palace. It is in the city, in scenic location between the rocks and the sea. Address of the Vorontsov Palace, Alupka st. 18 Dvortsovoye Highway, phone for inquiries +7 3654 722 281.
The geographical coordinates of the Vorontsov Palace on the map of Crimea are N 44.419861, E 34.055972.
Vorontsov Palace is one of the most luxurious buildings on the peninsula, its majesty and splendor is 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, the construction of the Vorontsov Palace began, and it took its final form only two decades later. Long time this estate belonged to Count Vorontsov, later he had other owners, and in 1921 it was transferred to state property and a museum was established 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 matches the Tudor architectural style. The front facing the sea is in the Moorish style. In general, the whole structure can be called neo-Gothic. By the way, many films were shot on the territory of the Vorontsov Palace, including those based on Shakespeare's books. This was due to the similarity of the architectural compositions of the palace with the English style of that time.
The whole Vorontsov Palace consists of five buildings, inside which there is a chapel, a library, a billiard room, a dining room, and a winter garden. In total, there are 150 rooms in the palace. Probably, every visitor to the Vorontsov Palace has a photo with one of the white marble lions that "guard" the estate with 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 are of considerable historical value.
The Vorontsov Palace is certainly beautiful, but its splendor is complemented by a park, spread over 40 hectares around it. This park deserves 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 along you can see a very unusual structure called "Chaos". This name is quite 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 stony. A Lower park includes delicate magnolias, slender cypresses, fountains, pavilions and lakes. The combination of the incongruous makes the Vorontsov Park striking and unforgettable, so everyone will be interested in visiting it and the Vorontsov Palace.
Vorontsov Palace on the map of Crimea