The two-storey Gomel palace of Field Marshal Pyotr Rumyantsev was built between 1777 and 1796 to a Neoclassical design attributed to Ivan Starov. The palace replaced the ruined castle of Gomel's previous owner, Michael Frederick Czartoryski. The central part is surmounted by a square belvedere with a wide flat dome. The six-columned Corinthian portico faces an extensive English park. The main portico is placed on a high platform and is supported by four Corinthian columns.

After Pyotr Rumyantsev's death in 1796, the grounds were slowly improved by his son Nicholas (1754-1826). His brother Sergei was the next owner. He was never interested in country housekeeping and promptly sold the palace to the crown (1834). Gomel was immediately purchased by another Field Marshal, Ivan Paskevich, who had both the palace and the park substantially renovated. He employed architect Adam Idźkowski to add a four-storey tower and a three-storey wing to the existing structure.

After the Russian Revolution the palace was nationalized to house a local museum. Paskevich's daughter-in-law Irina had to move from the palace into an ordinary flat. The buildings sustained heavy damage in the Russian Civil War and World War II. They were shared by the Gomel History Museum and the local pioneers' palace until the late 1990s. The current Neoclassical interiors result from a late 1990s restoration campaign.

The park contains a modern statue of Count Nikolay Rumyantsev. The original marble statues of Euripides, Venus, Athena, Ares, Bacchus, and the Nymph were lost. It was only in 2006 that the replacement statues were put in place. The Paskevich art collection also boasted several paintings by Ivan Kramskoi, Marcin Zaleski, and January Suchodolski, as well as a marble bust of Count Rumyantsev by Antonio Canova.

The bronze equestrian statue of Prince Joseph Poniatowski by Bertel Thorvaldsen, which Paskevich had brought from Warsaw as a trophy in 1842, was dismantled by the Poles during the Polish-Soviet War and transported back to Warsaw, only to be destroyed by the Germans in the 1940s. Its copy stands in front of the Presidential Palace, Warsaw.

Other buildings on the grounds are the Russian Revival chapel with the tombs of Ivan Paskevich and his family, a winter garden (which originated as Prince Paskevich's sugar-mill), several subsidiary outbuildings, and a set of cannons captured by Paskevich's soldiers in the course of the Russo-Turkish War (1828–1829).

By far the most conspicuous landmark in the park is the Neoclassical church of Sts. Peter and Paul. It was commissioned by Count Nikolay Rumyantsev from architect John Clark in 1809 but was not consecrated until 1824. The church is the seat of the local Orthodox bishopric.

An image of the residence is featured on the Belarusian 20,000-ruble bill.

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Founded: 1777-1796
Category: Palaces, manors and town halls in Belarus

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User Reviews

Jauhen Zadrucki (2 years ago)
Great authentic place in a Homel.
Bodhi Manish (2 years ago)
One of the great park in Gomel . Had very nice walk though it was getting wet due to slight rain and cold . Our friend Ivan explained the history of the Palace.
George Buyanovsky (2 years ago)
The palace itself links this small city to the Great Imperial Russian time-line and was built by the same architects who has built in Russian capitals. Very few house items preserved, but you can feel the spirit.
Ananda - Eternal Bliss (2 years ago)
A place to visit in all seasons. Nice palace situated in beautifully landscaped garden with its own streams, water bodies and overlooking the river. It was amazing to walk there in peak winter when the streams were frozen! The palace interiors are overwhelming to say the least.
Sergey Smirnov (2 years ago)
Great place. Highly recommended for anyone who's visiting Gomel.
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

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The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

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The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.