The staterooms

The antechamber of the Gold Hall

The antechamber of the Gold Hall. A set of the rooms for court receptions and festivities start in a small antechamber. Here one’s attention is attracted by large-sized 17th century paintings of Italian and Flemish masters. Both the paintings and the other articles have only come to the Palace since it opened as a museum. The stove was made in the 1970s in Leningrad, precisely copying the original cobalt painted tile stoves of the Palace.

Gold Hall

The Gold Hall was used as the Duke’s throne room. The golden stucco decorations on the background of two-coloured stucco marble, made by Johann Michael Graff, create a glamorous atmosphere indispensible for an audience hall. The ceiling painting, made by Francesco Martini and Carlo Zucchi, depicts the apotheosis of Duke Ernst Johann.

The Porcelain Cabinet is designed as a contrast to the splendour of the Gold Hall. The room displays Oriental porcelain vases placed on thirty-four decorative consoles.

Grand Gallery

The Grand Gallery served as a banqueting hall were tables were laid within the court’s reception hours. It took fourteen years to restore the ceiling painting, whereas the work on the wall painting was discontinued in 1992 and was only resumed in 2010.


White Hall

The White Hall was initially designed as a chapel, but in the second construction period it was transformed into a ball-room. The stucco decorations on the walls depict different pastoral scenes as well as the four seasons and four elements of the world.

Oval Porcelain Cabinet

The Oval Porcelain Cabinet completes the staterooms. Forty-five rocaille consoles support a collection of Chinese and Japanese porcelain vases.

Small Gallery

The Small Gallery displays Rastrelli’s early style as it has retained its appearance from the first construction period. Initially, the Small Gallery was planned as an antechamber to the chapel.

The Blue Room

The Blue Room. This room exhibits paintings by Flemish and Dutch masters, including several still-lifes with flower garlands around religious symbols or portraits by Hieronymus Galle, Jan van Kessel as well as by Daniel Seghers’s workshop.


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