Location: Ulitsa Sovetskaya (former Millionaya) 6
The Imperial Travel Palace, also known as the Tver Imperial Travellers Palace or Catherine the Great's Palace, is a historic landmark located in the heart of Tver, Russia, along the banks of the Volga River. Originally built as a luxurious resting stop for the Russian imperial family during journeys between St. Petersburg and Moscow, it now serves as the Tver Regional Art Gallery, housing one of Russia's most extensive collections of art, including icons, paintings, sculptures, furniture, and decorative items from Russian and international artists. This 18th-century structure exemplifies a blend of classical architecture with Baroque elements, reflecting the grandeur of the Russian Empire during the Enlightenment era.
Tver Travel Palace During the war and today
The palace's origins trace back to the medieval period, when the site
on Tver's Kremlin territory hosted two earlier palace complexes: the
Princely Palace (destroyed during the Time of Troubles in the early 17th
century) and the Archbishop's (Vladychny) Palace, which included stone
buildings from the 15th to 17th centuries. These were damaged by fires
in 1736 and 1763, prompting reconstructions. In the 1730s, architect
I.F. Michurin designed a new Archbishop's palace incorporating Baroque
styles, but it too was affected by the 1763 fire.
The current palace
was constructed between 1764 and 1766 under the direction of Moscow
architect Pyotr Romanovich Nikitin, who oversaw the rebuilding in an
open Baroque style while integrating remnants of medieval foundations.
Assisted by young architect Matvey Kazakov (later famous for Moscow's
Kremlin Senate and University buildings), the project was part of
Empress Catherine the Great's urban reforms for Tver, transforming it
into what she called "the second most beautiful city after St.
Petersburg." The palace was one of 11 grand travel lodges built along
the "Tsarist" road from Moscow to St. Petersburg, paved with stone
during her reign, but it stood out for its opulence, designed not just
as a lodge but for hosting balls, receptions, and large gatherings.
Catherine herself stayed there in 1767 during a journey to Simbirsk,
entertaining nearly 2,000 guests, including foreign ambassadors. By
1778, construction was completed with the consecration of the palace
church, whose icons were painted by renowned portraitist Vladimir
Borovikovsky. In the early 19th century, the palace shifted roles,
becoming the residence of Grand Duchess Ekaterina Pavlovna (daughter of
Emperor Paul I and sister of Alexander I) and her husband,
Governor-General George Duke of Oldenburg. It became a vibrant social
and literary center, where historian Nikolay Karamzin read excerpts from
his History of the Russian State to Alexander I.
Further renovations
occurred in the 1860s–1870s under royal architect A.I. Rezanov, who
introduced eclectic facades with metal elements like cast-iron canopies
and balconies, expanding service areas while restoring Baroque richness.
In the late 19th century, it served gubernatorial functions and hosted a
1894 art exhibition, leading to its establishment as a public
historical-archaeological museum in 1896. The palace survived the
Bolshevik Revolution and World War II but suffered losses during the
Soviet era, including stolen décor. Major restorations began in 2012,
using historic photos and documents to rebuild the complex, park, and
interiors, including pictorial panels by Fyodor Bruni, Canaletto
canvases, Carlo Rossi-designed furniture with gilded sphinxes, and
Andrey Voronikhin's swan armchairs. Post-WWII efforts in the 1960s
focused on displaying 18th- and 19th-century Russian art.
The palace ensemble showcases a fusion of metropolitan (St.
Petersburg and Moscow) and regional (Tver-specific) influences, evolving
from medieval roots to Baroque, classicism, and eclecticism. The main
building, designed by Nikitin, features a classical facade with Baroque
elements, including two pavilions and a widespread layout overlooking
the Volga. In the early 19th century, renowned Italian architect Carlo
Rossi (known for St. Petersburg's General Staff Building) reconstructed
it, removing some Baroque décor for a more classicist style, adding
ramps and balconies. Other contributors included Jean-Baptiste Vallin de
la Mothe for interiors like the bedchamber (he also designed St.
Petersburg's Small Hermitage) and Joseph Bové (of Moscow's Bolshoi
Theatre).
The structure contrasts with simpler travel lodges,
resembling grand urban residences in scale and detail. Regional quirks
include Baroque upper tiers atop medieval lower facades in earlier
phases, creating architectural "contradictions" that blend local history
with imperial standards.
Interiors were designed to evoke the splendor of St. Petersburg's imperial palaces, featuring luxury textile wallpaper, Dutch ovens with decorative tiles, intricate parquet floors, plaster columns mimicking marble, extravagant stuccowork, mirrors, wrought-iron staircases, bronze chandeliers, paintings, and sculptures. Contemporaries' memoirs highlight Catherine's affection for these opulent spaces. The palace church, consecrated in 1778, adds a spiritual dimension with Borovikovsky's icons.
Today, the palace functions as the Tver Regional Art Gallery, established in 1866, with a vast collection including works by Russian masters like Borovikovsky, Isaac Levitan, Konstantin Korovin, and Valentin Serov, alongside international pieces. Visitors praise the beautiful paintings and illusionary décor, though some note the exhibition layout can feel eclectic. The surrounding park and complex enhance the experience, making it a key cultural site in Tver.