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THE NEW STUDY

The New Study (272 Kb)

The New StudyThe New Study arose on the site of the former Bedroom of Pavel Petrovich and Maria Feodorovna, designed by Charles Cameron. In 1800, Giacomo Quarenghi redesigned it as the Study of Paul I or the New Study (archive inventories describe the room either as "the former bed-chamber" or as "the study"). After the fire of 1803, Andrei Voronikhin recreated it as it had been before the blaze. Quarenghi's project envisaged two brackets for vases on the walls, though these have not survived. In 1811, Voronikhin placed here a plafond painted in the middle of the eighteenth century in oil on canvas by the Italian artist Francesco Fontebasso. The plafond was later removed to the White Dining Room, from where it vanished during the war. In 1858, the Grand Duchess Alexandra Josifovna commissioned the architect I. Potolov with cutting a secret door through the northern wall. She also widened the slopes of the windows and had "eight engravings from the Raphael collection" placed on the walls. These watercolor engravings had been presented to Pavel and Maria by the artist, Giovanni Volpato, when they visited his studio in Rome in 1782. Volpato also presented them with engravings depicting the famous frescoes of Raphael and his students in the Stanzi of the Vatican. The artist was also a friend of Giacomo Quarenghi.

The New StudyThe walls of the New Study were faced with artificial marble with insets of natural stone, painted with arabesques. The suite of furniture, bureau and table were manufactured at the David Roentgen workshop in the 1780s. The pier between the windows has a console in it (Hambs workshop, St Petersburg, circa 1810). The set of vases (Ludwigsburg, 1780s) on the console has profile portraits of Pavel and Maria. The chandelier was made by St Petersburg masters in the late eighteenth century. On the fireplace is a Bacchante and Cupid clock (France, late 18th century). There are gilt patina candelabra along the sides of the clock and on pedestals (France, late 18th century). In 1773 Catherine the Great commissioned the Chesma Ink Set from the famous French master Jean-Antoine Houdon for St George's Hall in the Chesma Palace, St Petersburg. Part of his creation was repeated as an independent set - cannon candlesticks, mortar sandboxes and mortar ink-wells - and can now be seen on the table in the New Study.


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