The islands

Green oases, variety of architectural styles, Imperial parks – and this all is a couple of kilometers from the center of St. Petersburg.

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The Russian counterpart to Pasteur Institute in Paris and German Robert Koch Institute. The small library building decorated with a Maiolica doorway with figures of the prophetic birds Sirin and Alkonost, holds the urn with the ashes of a research doctor who passed away after experiments with plague bacilli.
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The bronze sculpture located at the Institute depicts a Doberman Pincher. It is surrounded by heads of a shepherd dog, hound, setter, greyhound, bloodhound, spitz and a mutt. Their open maws act as water fountains. Under them, four bas-relieves are dedicated to the discoveries which the famous doctor Pavlov ows to the dogs which were subjects of his experiments.
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The Gothic styled small temple reflects Emperor Pavel I’s devotion to the medieval knighthood. May-September: on Sundays and great holidays the temple is open from 7 a.m. to 7 p.m.
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Constructed in 1904-1906 styled in Scandinavian wooden architecture. The building is called the «House-Fairy Tale».
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Thais house with a high gable was also designed by Robert-Friedrich Melzer. Now, the General Consulate of Denmark is situated here.
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It is considered to be the first building in Russia designed in the modernist style. It was constructed in 1898 by architects Vladimir Chagin and Vasili Schöne for the wife of a baker – Eugenia Karlovna Hauswald. In 1918, the building housed a juvenile hall; eventually it was turned into a health resort. The mansion was used as a location of several movies. For example, in the 1980s the Soviet movie “The Adventures of Sherlock Holmes and Doctor Watson” was shot here.
It excels by a four-column portico, magnificent main staircase and rotunda on the roof.
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The house uniting the motives of Petrine Baroque and classicism was constructed in the first half of the nineteenth century. Originally, it was a two-storey building. In 1883, the third storey was added. In 1907, architect Boris Girshovich redesigned the house by order of the Siberian Trade Bank, founded by Albert Soloveychik.
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The mansion resembles an estate of Catherine times; it is more of a palace than a country house. Currently it is the Architect House. Due to this status, the building has preserved both the exterior, typical of the late Russian classicism, and historic interiors: the Golden Hall veneered with several kinds marble, Oaken Hall which served as a library, Bronze and White Halls used for receptions in Louis Quinze style, main staircase, reception room with a bay window, and a former boudoir.
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Architect’s Karl Rossi’s own country house (1824), the Ministerial country house constructed by architect Charlemagne in 1834, the country houses of Countess Kleinmichel and owner of the St. Petersburg circus Chenizelli constructed by architect Stackenschneider in 1834 and redesigned by Theodore de Postels in 1839.
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In 1822, Karl Rossi redesigned the palace which belonged to the widow of Pavel I, Empress Maria Feodorovna. This was the first build of the architect and it was the one that made him famous. The palace has two faces; one looks out on the river and the other on the park.

The Palace is closed for the restoration.
The garden is open  6 a.m. - 12 a.m. (summer), 6 a.m. - 11 p.m. (winter).
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The unique wooden structure constructed in 1827 by architect S. Shustov in just 40 days. In this summer theater, performances (mainly balet) were given for the Imperial family and high-ranking neighbors.

A tour performance of “Theatre for Kids” is usually presented on the Bolshoi Drama Theatre’s second stage - the Kamenoovstrovsky Wooden Theatre - during school holidays. Children sit in the stalls together with their parents. They learn how the first wooden theatre was built on this spot in just 40 days and how Tsar Nicholas I, who was on holiday not far from here, would come to the theatre every day. He would watch the stage hands light the lamp oil before the play began and would loudly comment on the actors’ performances. Parents are then taken to the saloon for a lecture on theatrical St. Petersburg in the nineteenth, twentieth and twenty-first centuries, while the children go on a tour of the theatre. They are shown the stage machinery and the curtain, given a chance to operate the lights and microphones, and taken through various backstage workshops. At the end of the tour, the children visit the actors’ dressing rooms where they are allowed to touch anything they want and even put on some stage makeup. The evening culminates in a five-minute emotional silent performance given by the children for their parents.

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