Universitetskaya Naberezhnaya 15
Tel. 328- 1112
Open: 10:30am- 6pm Tue- Sat, 10:30am- 5pm Sun
Closed: Mon
Bus: 7, 187
Trolleybus: 1, 10
Metro: Vasileostrovskaya
Menshikov’s Palace, also known as the Menshikov Palace (Russian: Меншиковский дворец, Menshikovsky dvorets), is a historic architectural gem located on Universitetskaya Embankment 15, Vasilievsky Island, Saint Petersburg, Russia. Constructed between 1710 and 1727, it is the oldest surviving stone building in the city and a premier example of Petrine Baroque architecture. Commissioned by Prince Alexander Menshikov, Peter the Great’s closest friend and the first governor-general of Saint Petersburg, the palace was designed by architects Giovanni Maria Fontana and Gottfried Johann Schädel. Originally Menshikov’s lavish residence, it later served as a military academy and, since 1981, has been a branch of the State Hermitage Museum, showcasing early 18th-century interiors and artifacts. Its riverside location, ornate decor, and historical significance make it a key landmark in Saint Petersburg’s UNESCO World Heritage-listed historic center.
Menshikov’s Palace was born out of Peter the Great’s vision to
transform Saint Petersburg into a modern European capital. In 1703,
Peter founded the city on the Neva River’s marshy delta, and by 1705, he
appointed Alexander Menshikov (1673–1729), a loyal ally and military
commander, as its first governor-general. Menshikov, a low-born figure
who rose to become Russia’s most powerful noble under Peter, was granted
a prime plot on Vasilievsky Island in 1707 to build a residence
befitting his status. Construction began in 1710, led by Swiss-Italian
architect Giovanni Maria Fontana, with German architect Gottfried Johann
Schädel taking over in 1713 after Fontana’s departure. The palace was
completed in 1727, though Menshikov resided there from 1714, hosting
grand receptions even during construction.
The palace was
designed to outshine contemporary European residences, reflecting
Peter’s ambition to rival Western courts. Menshikov, known for his
wealth and extravagance, used the palace to entertain foreign
dignitaries, Russian nobles, and Peter himself, who occasionally stayed
there during the city’s early years. Its completion in 1727, two years
after Peter’s death, marked the peak of Menshikov’s influence under
Empress Catherine I, Peter’s widow. However, his fortunes reversed in
1727 when Peter II, influenced by rival nobles, exiled Menshikov to
Siberia, confiscating his properties, including the palace.
In
1728, the palace was repurposed as the First Cadet Corps, a military
academy for noble youth, a role it held until 1917. The Cadet Corps,
Russia’s first military school, trained officers like Alexander Suvorov
and Mikhail Kutuzov, leaving a lasting military legacy. During this
period, the palace’s interiors were altered to accommodate classrooms
and dormitories, with some original decor preserved but much neglected.
The 19th century saw further modifications, including a fire in 1835
that damaged parts of the building, though the exterior remained largely
intact.
During the Soviet era, the palace continued as a military
institution until the 1960s, when it was transferred to the State
Hermitage Museum. Restoration began in the 1970s, with a major effort
from 1981 to 1986 to recreate the palace’s early 18th-century
appearance, focusing on Menshikov’s private chambers and ceremonial
halls. Opened as a Hermitage branch in 1981, it now displays period
furnishings, artworks, and artifacts, offering a rare glimpse into
Petrine-era domestic life. The restoration, completed in stages through
the 2010s, has made the palace a cultural highlight, though its military
past and Soviet neglect left gaps in its original splendor.
Menshikov’s Palace is a masterpiece of Petrine Baroque, a style
blending Dutch, Italian, and Russian elements with a focus on
functionality, symmetry, and restrained opulence. Situated along the
Neva River, its three-story, U-shaped structure faces Universitetskaya
Embankment, with a central block and two wings forming a courtyard. The
palace’s design, influenced by Dutch merchant houses and Italian
palazzi, was intended to impress, surpassing the Summer Palace and
Peter’s modest Monplaisir at Peterhof in scale and grandeur.
Exterior: The palace’s facade is a vibrant red-brick and white-stucco
composition, typical of Petrine Baroque, with a rusticated ground floor
and smooth upper stories. The central block features a pedimented
entrance with Corinthian pilasters and a balcony, flanked by symmetrical
wings. The roofline, originally adorned with balustrades and urns
(partially lost), adds elegance. The Neva-facing facade, painted in warm
ochre and white, is punctuated by tall windows and decorative niches,
offering panoramic river views. The palace’s riverside location, with a
private jetty for boats, reflects its role as a hub for Petrine elites,
akin to the Kunstkamera’s waterfront prominence. The courtyard, once a
formal garden, now serves as a public space with a statue of Menshikov,
installed in 2002.
Interior: The palace’s restored interiors,
covering about 20 rooms, recreate Menshikov’s opulent lifestyle from
1714–1727. Key spaces include:
Great Hall: The ceremonial heart of
the palace, this double-height room features a coffered ceiling, gilded
stucco, and allegorical frescoes depicting Peter’s victories, painted by
Italian artists in the 1710s. Oak-paneled walls, a rarity in Russia at
the time, and a massive fireplace reflect Dutch influences. The hall,
used for banquets and receptions, is adorned with period tapestries and
chandeliers.
Menshikov’s Study: A smaller, wood-paneled room with a
tiled fireplace, it showcases Dutch blue-and-white Delftware tiles,
imported to reflect Menshikov’s wealth. The study displays his desk,
maps, and navigational instruments, highlighting his administrative
role.
Walnut Room: Named for its walnut paneling, this intimate
chamber features intricate carvings and a mirrored ceiling, a Baroque
innovation. It houses Menshikov’s personal artifacts, including
silverware and portraits.
Varvara’s Chambers: Named after Menshikov’s
sister, these rooms are decorated with Chinese silk wallpapers and
lacquered furniture, reflecting early 18th-century fascination with
Chinoiserie. The chambers include a restored tiled stove, a hallmark of
Petrine interiors.
Kitchen and Servants’ Quarters: These utilitarian
spaces, with exposed brick and ceramic tiles, contrast with the
ceremonial halls, offering insight into the palace’s daily operations.
Decorative Elements: The palace is renowned for its 150,000 Dutch and
German ceramic tiles, used in fireplaces, walls, and stoves, a luxury
Menshikov imported to emulate European courts. The tiles, depicting
pastoral scenes, ships, and geometric patterns, are a highlight,
preserved or replicated during restoration. Gilded stucco, parquet
floors, and Venetian mirrors enhance the Baroque aesthetic, while
Russian oak and imported walnut add warmth.
Surroundings: The palace
anchors Vasilievsky Island’s academic and cultural hub, near the Twelve
Colleges, Kunstkamera, and Rostral Columns. The Neva embankment, with
Egyptian sphinxes and granite ramps, frames the palace, while the nearby
Menshikov Bastion in the Peter and Paul Fortress, named for his
governorship, ties it to his military legacy. The palace’s riverfront
setting, offering views of the Winter Palace and Peter and Paul
Fortress, enhances its scenic appeal, though its urban context lacks the
gardens of the Sheremetev Palace.
The palace’s Petrine Baroque style,
with its austere yet ornate forms, contrasts with the Elizabethan
Baroque exuberance of St. Nicholas’ Naval Cathedral and the neoclassical
elegance of the Tavrichesky Palace. Its red-and-white facade, shared
with the Twelve Colleges, roots it in Peter’s architectural vision,
though its domestic focus distinguishes it from the administrative
Twelve Colleges or the symbolic Rostral Columns.
Menshikov’s Palace is a multifaceted symbol of Saint Petersburg’s
Petrine origins, aristocratic ambition, and cultural evolution, with a
significance that spans several dimensions:
Petrine Legacy: As
the city’s oldest stone building, the palace embodies Peter the Great’s
vision of a Europeanized Russia, serving as a stage for his reforms.
Menshikov, Peter’s right-hand man, used the palace to project power,
hosting events that showcased Saint Petersburg’s emergence as a Baltic
capital. Its construction, predating the Kunstkamera and Twelve
Colleges, marks the city’s architectural infancy, with its Dutch tiles
and Baroque decor reflecting Peter’s Western influences, a theme echoed
in the Zoological Museum’s origins.
Aristocratic Grandeur: The
palace’s opulence, surpassing Peter’s own residences, highlights
Menshikov’s wealth and ambition, making it a rare example of early
18th-century aristocratic domesticity. Its role as a diplomatic venue,
hosting European envoys, parallels the Literary Café’s later literary
salons, though on a grander scale. Menshikov’s exile in 1727, a
cautionary tale of hubris, adds a tragic layer, contrasting with the
enduring legacy of figures like Potemkin in the Tavrichesky Palace.
Military Heritage: As the First Cadet Corps’ home from 1728 to 1917, the
palace shaped Russia’s military elite, training commanders like Suvorov
and Kutuzov, who led victories against Napoleon and the Ottomans. This
military role, akin to St. Nicholas’ Naval Cathedral’s naval
significance, underscores its contribution to Russia’s imperial might,
though its academic function was less revolutionary than the Finland
Station’s 1917 events.
Cultural Preservation: Since 1981, the
palace’s role as a Hermitage branch has preserved Petrine-era
aesthetics, offering a counterpoint to the Winter Palace’s imperial art
collections. Its restored interiors, with 150,000 tiles and period
furnishings, provide a tangible link to the 1710s, unlike the
Spaso-Konyushenny Church’s altered interiors. The Hermitage’s meticulous
restoration, drawing on Menshikov’s inventories and Dutch archives,
contrasts with the partial losses at the Sheremetev Palace, highlighting
the palace’s curatorial value.
UNESCO Significance: As part of Saint
Petersburg’s UNESCO World Heritage site, the palace’s architectural and
historical integrity enhances the city’s global cultural status,
alongside landmarks like the Rostral Columns and Twelve Colleges. Its
riverside setting, integral to Peter’s vision of a maritime capital,
ties it to the Chizhik-Pyzhik’s canal-side charm, though its scale and
historical depth are far greater.
The palace’s transition from
residence to military academy to museum mirrors Saint Petersburg’s
evolution from a Petrine outpost to a cultural metropolis, a narrative
shared with the Tavrichesky Palace’s shift from imperial to
parliamentary use. Its preservation, despite Soviet neglect, reflects
the city’s resilience, seen in the Zoological Museum’s wartime survival,
though its military past is less emphasized than its Petrine origins in
modern narratives.
As of 2025, Menshikov’s Palace operates as a branch of the State
Hermitage Museum, open Tuesday to Sunday from 10:30 AM to 6:00 PM (until
9:00 PM on Wednesdays and Fridays), closed Mondays. Located at
Universitetskaya Embankment 15, it is a 10-minute walk from metro
station Vasileostrovskaya, near the Twelve Colleges (0.2 km),
Kunstkamera (0.5 km), and Rostral Columns (0.7 km). Admission costs
approximately 300–400 rubles ($3–4 USD), included in a Hermitage
multi-site ticket (~1,500 rubles, $15 USD), with discounts for students
and free entry for children under 7. Audio guides in English (~200
rubles, $2 USD) and guided tours (~5,000 rubles, $50 USD for groups) are
available, enhancing the experience for international visitors.
The museum displays about 20 restored rooms, focusing on Menshikov’s era
(1710–1727), with period furnishings, Dutch tiles, tapestries, and
artifacts like Peter the Great’s navigational tools. Highlights include
the Great Hall’s frescoes, the Walnut Room’s carvings, and Varvara’s
Chinoiserie chambers, offering a vivid portrait of Petrine luxury.
Temporary exhibitions, such as a 2023 display on Petrine-era trade,
complement the permanent collection. The palace hosts occasional
lectures and chamber music concerts in the Great Hall, announced on the
Hermitage’s website (hermitagemuseum.org).
Visitors typically
spend 1–1.5 hours exploring, with Tripadvisor reviews (4.5/5 from ~250
reviews) praising the “stunning tiles” and “intimate glimpse into
Peter’s time,” though some note the “small size” compared to the Winter
Palace and occasional crowding in narrow rooms. The English audio guide
and multilingual labels, unlike the Russian-only signage at the
Zoological Museum or Finland Station, cater to international tourists,
though the palace’s niche focus on the Petrine era may appeal more to
history buffs than casual visitors. The Neva embankment offers
photogenic views, especially during white nights (late May to early
July), and boat tours along the river provide a striking perspective of
the facade, similar to the Rostral Columns’ riverfront allure.
The palace’s location in Vasilievsky Island’s academic hub, alongside
the Twelve Colleges and Kunstkamera, makes it a natural stop on
historical tours, though its museum status contrasts with the active
university function of the Twelve Colleges. Nearby attractions like St.
Nicholas’ Naval Cathedral (4 km) and the Literary Café (2.5 km)
complement its Petrine narrative, while the Menshikov statue and jetty
add photo opportunities. The Hermitage’s management ensures high
curatorial standards, though the palace’s smaller scale and specialized
focus make it less crowded than the Winter Palace, offering a quieter
experience.
Menshikov’s Palace is a triumph of Petrine Baroque, its red-and-white
facade and tiled interiors capturing the raw ambition of Saint
Petersburg’s founding decades. Fontana and Schädel’s design, blending
Dutch austerity with Italian theatricality, sets it apart from the
Elizabethan Baroque of St. Nicholas’ Naval Cathedral or the neoclassical
Tavrichesky Palace, aligning it with the Twelve Colleges’ functional
elegance. Its status as the city’s oldest stone building underscores its
architectural primacy, predating even the Kunstkamera, though its
domestic focus contrasts with the latter’s scientific mission.
Historically, the palace’s role as Menshikov’s power base reflects the
precariousness of Petrine-era nobility, with his 1727 exile mirroring
the Spaso-Konyushenny Church’s Soviet-era closure as a tale of lost
prestige. Its Cadet Corps phase, training Russia’s military elite, adds
a layer of imperial continuity, akin to St. Nicholas’ naval legacy,
though this is underexplored in the museum’s narrative, which
prioritizes Menshikov’s era. The Hermitage’s restoration, recreating
1710s interiors, is a curatorial feat, surpassing the Sheremetev
Palace’s partial garden losses, but the loss of original furnishings and
19th-century alterations raises authenticity questions, similar to the
Blagoveshchensky Bridge’s steel upgrades.
Culturally, the
palace’s focus on Petrine domesticity offers a unique lens on early
Saint Petersburg, contrasting with the revolutionary weight of the
Finland Station or the literary depth of the Literary Café. Its 150,000
Dutch tiles, a technical and aesthetic marvel, rival the Zoological
Museum’s mammoth collection in specificity, though they appeal to a
narrower audience. The museum’s English resources and compact size
enhance accessibility compared to the Twelve Colleges’ restricted
campus, but its niche narrative may deter tourists seeking the Church of
the Savior on Spilled Blood’s visual spectacle.
The palace’s
riverside setting is a strength, integrating it into the Neva’s scenic
narrative, like the Rostral Columns, but its lack of a formal garden,
unlike the Tavrichesky Palace’s Tauride Gardens, limits its outdoor
appeal. The absence of interactive displays or digital guides, a
contrast to modern museums like the Hermitage’s main site, could elevate
engagement, particularly for younger visitors. The palace’s military
history, from the Cadet Corps to Menshikov’s campaigns, is
underexplored, and a small exhibit on this could broaden its appeal, as
suggested for the Chizhik-Pyzhik’s interpretive signage.
Ethically, the palace’s glorification of Menshikov, a figure tied to
serf exploitation and corruption, invites scrutiny, a nuance rarely
addressed in the museum’s narrative, unlike the Literary Café’s balanced
portrayal of Akhmatova’s struggles. Highlighting the serfs who built the
palace or its tiles’ global trade context could align it with
contemporary historiographical trends, as seen in the Kunstkamera’s
ethical reflections on human remains.