Description of the attraction
The Cold Bath Pavilion is central to the Baths of Cameron. The layout of this pavilion was completed in 1780, and construction began in the same year.
The architectural solution of the complex is based on the contrast of floors and is fully consistent with the ancient Roman style, which combines the severity of geometric lines and magnificent decorative finishes. For the construction of the basement, blocks of porous, roughly processed Pudost stone were used, thanks to which the effect of a time stamp, the illusion of genuine antiquity, is created.
Bathing rooms are located on the ground floor of the pavilion; on the second floor - rooms for entertainment and relaxation with a characteristic antique decoration. A very prominent cornice runs between the basement and the second floor. Semicircular windows are cut in the long northeastern wall, and rectangular arches are made at the ends of the building.
The decoration of the second floor differs from the decoration of the basement in elegance and lightness. The walls of the second floor are light yellow and decorated with niches with sculptures. The niches are made in terracotta color, which makes them stand out against the light background of the walls. The upper edge of the walls is decorated with bas-reliefs on mythological themes.
The south-western front façade of the pavilion opens onto a vaulted terrace that rests on brick pillars. The terrace serves as the foundation of the Hanging Garden and connects the Great Tsarskoye Selo Palace and the Cameron ensemble. If you look at the pavilion from the side of the Cameron Gallery and the Hanging Garden, then its upper floor looks like a completely independent one-story building. The main facade differs from other facades by the presence of the same columns as in the Cameron Gallery, which speaks of the unity of these structures.
Cameron was imbued with the spirit of the art of ancient times. This is reflected in the luxurious decoration of the facades, the interior layout of the Cold Bath building. The decoration of the oval and polygonal halls also reflects the traditions of ancient Roman art. The vaults covering the premises are decorated with relief sculpture, stucco patterns, and paintings.
The interior decoration of the pavilion has retained its original appearance to this day. Today the ground floor is used for temporary exhibitions.
Despite the fact that there was never a hot bath in Ancient Rome, this integral element of the Russian tradition (Russian steam room) is present in Cameron's ensemble. This small space has a wooden ceiling, plank floor and wood-paneled walls. The architect I. V. Neelov, since the Dutch master did not have experience in designing Russian baths. The order of procedures in Cameron's Terme was built according to the ancient Roman tradition of lowering the temperature when moving from one room to another: from the steam room to the bathing hall.
The lightest and most spacious room is the bathing hall. The first project of this hall was rejected by the empress. According to the original plan, it was supposed to decorate the walls with artificial marble, gold stucco decorations, painting with ornaments, a floor paved with multi-colored marble. Above the pool, it was planned to install a canopy on faience columns with gilded bronze eagles. From the original idea of the architect, only the decoration of the hall with reliefs on mythological themes remained. The floor was paved with oak parquet. Besides the reliefs, the walls were not decorated with anything.
A round pool of 13 cubic meters was surrounded by a wooden balustrade. The pool walls were lined with bricks and a tin bath was installed inside. The hall housed a marble fireplace decorated with gilded bronze.
The bathing room is connected to the bathroom, which is designed for warm bathing. Its walls are simply painted, their only decoration is frames, one located inside the other, interestingly dividing the surface of the walls. There was a decorative portico above the doors, and decorative molded vases above the portico.
Next was the Corner Office, which was a square room with a semicircular niche. This room was used for massage treatments. The cabinet was decorated with marble columns with Corinthian capitals and stucco medallions with mythological compositions.
