Maryino rose between 1811 and 1820, built to be the principal seat of the Baryatinsky family and, quite deliberately, a symbol of its dignity. The design came from the architect Karl Hoffman, and the estate took shape as a four-story manor house flanked by two-story wings that enclose a pair of farmyards. It was conceived in the Empire style then in fashion across Russia, all restraint and grandeur. In 1860 a church in the Byzantine manner was added to the complex, and in 1869 and 1870 the palace was reworked again, this time with the help of the painter Fyodor Bruni, its interiors shifting from the crisp Empire look toward a richer Academic style. Marble fireplaces, ceiling moldings, and pre-revolutionary parquet floors from those years survive inside to this day.

The true magic of Maryino lies outside the walls, in its landscape park. A large pond was dug on the Izbitsa River, and within the grounds a round pond and an oval one hold two islands linked to the shore by three bridges. Empire-style statues stand among the trees. Each island carries its own small folly, a favorite conceit of the great Russian estates: one holds a sixteen-column rotunda, an open temple of the kind meant to be glimpsed across water, and the other a miniature Lutheran church, tiny and precise. It is a designed landscape in the grand manner, a place built to be walked through slowly, where every turn of the path was arranged to compose a view.

The estate passed down the Baryatinsky line, inherited after 1859 by Prince Ivan's sons Alexander and Vladimir, and it was in Vladimir's hands by the time of the First World War. The revolution ended private ownership in 1917, and in the years that followed the palace found new uses: an agricultural technical school from 1919, then a home for various Soviet state bodies. The park's statues and the estate's treasures were dispersed to museums across the country. In 1952 Maryino became a sanatorium for the Communist Party's Central Committee, a role it has kept ever since under new management, and today it holds a house church and a museum, its halls hung with copies of famous paintings and portraits of the palace's former owners. Before the main entrance stands a monument to Field Marshal Alexander Baryatinsky, keeping the family's memory at the threshold of the house they built.