Author: Paul Gilbert

Masha and Gosha honour their traitor ancestor Grand Duke Kirill Vladimirovich

Posted on by Paul Gilbert

PHOTO: Maria Romanova during a ceremony of cancelling postcards,
held in the Russian Academy of Arts, St. Petersburg on 7th December

NOTE: text highlighted in red below, are links to other articles – PG

It is wonderful to celebrate and honour one’s ancestors, however, when a person memorializes a man, who betrayed Russia’s last Tsar, and even supported his arrest, is surely reason enough to ask “WHY?!”.

Such is the case with the Spanish-born Maria “Masha” Romanova[1], whom the so-called “Legitimists” [formerly known as Kirillists] blindly worship as “Empress de Jure” of Russia, and her son George “Gosha” Hohenzollern, whom they refer to as “Tsesarevich” and “Heir” to the Russian throne. For the record, “IF” the monarchy were ever restored in Russia, neither one of them have any rightful claim to the throne.

On 7th December 2024, Masha took part in a ceremony of canceling postcards[2], with Russian postage stamps, which took place at the Russian Academy of Arts in St. Petersburg. The event marked the 100th anniversary of her traitor grandfather Grand Duke Kirill Vladimirovich awarding himself the title of “Emperor in Exile”. Up until his death in 1938, Kirill created a make-believe kingdom from which he reigned over the Russian diaspora in Europe. Both he and his wife “Ducky” – and later their son Vladimir – supported Adolf Hitler and the Nazis.

Masha is once again visiting Russia (her third or fourth visit since the outbreak of hostilities between Russia and Ukraine), on yet another of her attention seeking tours. Her appearances garnered little interest by either the Russian media or the public.

PHOTO: postcard depicting Grand Duke Kirill Vladimirovich

The ceremony was prepared by the Cavalier Duma of the Imperial Order of St. Vladimir, Equal-to-the-Apostles. The ceremony was attended by Director of the Russian Academy of Arts Alexei Yuryevich Mudrov. Following the cancellation ceremony, Mr. Mudrov presented Masha with a medal marking the 180th anniversary of the birth of the famous Russian artist Ilya Efimovich Repin (1844-1930). In the afternoon, a ceremonial dinner was given in Maria’s honour by the Chevalier Duma of the Imperial Order of St. Vladimir, Equal-to-the-Apostles.

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PHOTO: George Hohenzollern posing with a bust of his traitor great-grandfather Grand Duke Kirill Vladimirovich in the the Smolensk Zosimova Pustyn Monastery

 On 14th March 2023, a new bust of Grand Duke Kirill Vladimirovich was unveiled at the Alexandrovsky district of the Vladimir region, in the presence of the grand dukes great-grandson George Hohenzollern. A prayer service and blessing of the bust, was performed by Hieromonk Nikon (Belyavenets), Abbot of the Smolensk Zosimova Pustyn Monastery.

Given Kirill’s lack of a moral compass, perhaps an exorcism should have been performed?

The bust was then transferred to St. Petersburg, where it was installed in the Vladimir Palace, situated on the on the Palace Embankment, opposite the Peter and Paul Fortress. Since the revolution, the former residence of Grand Duke Vladimir Alexandrovich (1847-1909) and Grand Duchess Maria Pavlovna (1854-1920), has housed the prestigious House of Scientists.

Under no pretext can we admit to the throne those whose ancestors belonged to parties involved in the 1917 revolution in one way or another. Nor can we admit those whose ancestors, who betrayed Tsar Nicholas II. Nor can we ignore those whose ancestors openly supported the Nazis. Thus, without any reservations, the right to the succession to the throne of the Kirillovich branch should be excluded!

Any person who supports this branch of the Romanov dynasty, dishonours the memory of the murdered Holy Tsar Martyr Nicholas II.

NOTES:

[1] Maria is not and never has been a ruling monarch, and never had or has any authority to hand out titles or awards. Despite this, she actively, and completely illegally distributes orders, medals and even titles of the Russian Empire. While many orders and awards of the Russian Empire have been officially restored in the post-Soviet Russian Federation, an ordinary civilian. i.e. Maria Romanova, and not a representative of the state, distributes the same order in appearance and name to her supporters on behalf of the “Russian Imperial House“.

[2] The ceremony of canceling postcards involves addressing the envelope to the “Postmaster” with the full name and address of the post office that offers the cancel. The cancelled envelope or cover is then received by return mail1. Pictorial cancels are available from respective post offices across Canada2. Some of the best copies of duplex cancels appear on post cards3. Cancels are used to prevent the reuse of stamps.

© Paul Gilbert. 12 December 2024

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COMING AUTUMN 2025 . . .

Grand Duke Kirill Vladimirovich is the subject of my forthcoming book ‘Kirill: Traitor to the Tsar!‘, the first comprehensive study to examine the relationship between Grand Duke Kirill and his first cousin Tsar Nicholas II. My research for this book is based primarily on documents and letters retrieved from Russian archival and media sources, many of which will be new to the English reader.

My book is scheduled for publication in late 2025. Watch for my ads in both Majesty and Russian Life magazines!

The Imperial Russian Navy Under Nicholas II 1894-1917

Posted on by Paul Gilbert

PHOTO: Emperor Nicholas II on the deck of the Imperial Russian Navy cruiser “Россия / Russia“. 15th Jamuary 1915. Standing to the Emperor’s right is the commander of the Baltic Fleet, Nikolai Ottovich von Essen (1860-1915).

The Chief of Staff of the Guards Troops and Petersburg Military District Lieutenant General Baron A.P. von den Brinken  (1859 – 1917) wrote about Nicholas II’s affection for the navy and sailors: “The Tsar, always so kind and gentle, at anyone’s attempt to say something negative against the navy becomes literally furious, thumps his fist on the table, and stops listening”.

Formally established in 1696 under Emperor Peter I (1672-1725), the Imperial Russian Navy served as the navy of the Russian Empire until 1917. It was expanded in the second half of the 18th century and by the early part of the 19th century, it reached its peak strength, behind only the British and French fleets in terms of size.

The navy then went into a period of decline in the first half of the 19th century, due to Russia’s slow technical and economic development. It had a revival in the latter part of the century during the reign of Emperor Nicholas II (1894-1917), but lost most of its Pacific Fleet along with the Baltic Fleet, both of which were sent to the Far East and subsequently destroyed in the disastrous conflict of 1904. The second phase of Nicholas II’s military life was marked by his participation in the reorganization of the navy after the catastrophic Russo-Japanese War.

The Imperial Russian Navy had mixed experiences during the First World War, with Germany generally gaining the upper hand in the Baltic Sea, while Russia established its absolute dominance on the Black Sea. The February Revolution of 1917 marked the end of the Imperial Russian Navy; its officers had mostly aligned with the Tsar, and the sailors split to fight on either side. The surviving ships were taken over by the Soviet Navy when it was established in 1918.

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VIDEO: vintage newsreels of Nicholas II and the Imperial Russian Navy
Duration: 12 minutes with music

The above video presents a collection of vintage newsreels from the Russian State Documentary Film & Photo Archive at Krasnogorsk (RGAKFD), which show Emperor Nicholas II with the Imperial Russian Navy as he reviews the squadrons, talks to the Russian sailors, officers and admirals, and participates in the other naval events.

During the reign of Emperor Nicholas II the Imperial Russian Navy continued to expand in the later part of the 19th century, regaining its position as the third largest fleet in the world after Britain and France. The expansion was notably accelerated under Nicholas II who had been influenced by the American naval theoretician Alfred Thayer Mahan. Russian industry, although growing in capacity, was not able to meet the demands of the burgeoning Imperial Navy and some ships were ordered from Britain, France, Germany, USA, and Denmark. French naval architects in particular had a considerable influence on Russian designs.

At the end of the Russo-Japanese War in 1905, Russia had fallen from being the third greatest naval power to sixth place. It was then that the focus of Russian naval activities shifted back from the Far East to the Baltic. The task of the Baltic Fleet was to defend the Baltic Sea and St Petersburg from Imperial Germany.

On 19th March 1906, by decree of Emperor Nicholas II, the Maritime General Staff was organized with the Main Naval Staff, which assumed the functions of the operational body of the Imperial Navy. At first, attention was directed to the creation of mine-laying and a submarine fleet. In the same year, a new program for naval shipbuilding, the Russian Armed Forces Development and Reform Program, known as the “Small Shipbuilding Program”, which was approved by Emperor Nicholas II on 6th June 1907, began to be developed and actively discussed, but later the amount of appropriations was reduced, and the program itself was renamed the “Distribution of Allocations for Shipbuilding” (before 1911 it was planned to finish the ships already started for the Baltic Fleet – 4 battleships and 3 submarines, as well as a new naval base, and for the Black Sea Fleet – 14 destroyers and 3 submarines) and was partially approved by the State Duma in the spring of 1908.

VIDEO: ships of the Russian Imperial Fleet 1894-1917
Duration: 3 minutes with music

The Bosnian Crisis in 1909 again raised the issue of the expansion of the fleet and new battleships , cruisers, and destroyers were ordered for the Baltic Fleet. It is worth noting that, on the personal orders of Emperor Nicholas II, new battleships were laid, which had previously rejected by the State Duma.

A worsening of relations with Turkey meant that new ships including the Imperatritsa Mariya-class battleships were also ordered for the Black Sea Fleet. The total Russian naval expenditure from 1906-1913 was $519 million, in fifth place behind Britain, Germany, the United States and France.

From 1909, active preparation and discussion of a new shipbuilding program took place. The “Ten Year Shipbuilding Program (1910-1920)” – the so-called “Great Shipbuilding Program”, which in its final version envisaged the construction for the Baltic Fleet: 8 battleships, 4-linear cruisers, 18 destroyers and 12 submarines; for the Black Sea Fleet – 9 Novik type destroyers and 6 submarines; ships for the Pacific Fleet, as well as the rearmament and modernization of several battleships – Tri Sviatitelia, Dvenadsat Apostolov, and Georgii Pobedonosets. The program was approved on 25th March 1910, by Emperor Nicholas II, but was not reviewed by the State Duma until 1911.

PHOTO: the white and blue ensign or Andreyevsky flag, and
the red, blue and white naval jack of the Imperial Russian Navy

The re-armament program included a significant element of foreign participation with several ships (including the cruiser Rurik) and machinery ordered from foreign firms. After the outbreak of World War I, ships and equipment being built in Germany were confiscated. Equipment from Britain was slow in reaching Russia or was diverted to the Western Allies’ own war effort.

By March 1918, the Russian Revolution and the Treaty of Brest-Litovsk made the Germans masters of the Baltic Sea and German fleets transferred troops to support newly independent Finland and to occupy much of Russia, halting only when defeated in the West. The Russians evacuated the Baltic Fleet from Helsinki and Reval to Kronstadt during the Ice Campaign of the Baltic Fleet in March 1918.

The Black Sea was the domain of the Russians and the Ottoman Empire but it was here that the Imperial Russian Navy established its absolute dominance. It possessed a large fleet based in Sevastopol and it was led by two skilled commanders: Admiral Eberhart (1856-1919) and Admiral Kolchak (1874-1920) (who took over in 1916).

PHOTO: Grand Duke Alexei Alexandrovich and Admiral S.O. Makarov watch the newly constructed battleship Oslyabya, during maneuvers on the Baltic Sea, 1899

After Admiral Kolchak took command (August 1916), the Imperial Russian fleet mined the exit from the Bosporus, preventing nearly all Ottoman ships from entering the Black Sea. Later that year, the naval approaches to Varna were also mined. The greatest loss suffered by the Russian Black Sea fleet was the destruction of the modern dreadnought Imperatritsa Mariya, which blew up in port on 7th October 1916, just one year after it was commissioned. The sinking of the Imperatritsa Mariya was never fully explained; it could have been sabotage or a terrible accident.

The Revolution and subsequent Civil War devastated the Russian Navy. Only the Baltic fleet based at Petrograd remained largely intact, although it was attacked by the British Royal Navy in 1919. Foreign Interventionists occupied the Pacific, Black Sea and Arctic coasts. Most of the surviving Black Sea Fleet warships, with crews loyal to the White Russian movement, became part of Wrangel’s fleet under the control of commander Pyotr Nikolayevich Wrangel (1878-1928) and after evacuating White forces and civilians from the Crimea were eventually interned in Bizerta, Tunisia. Russian sailors fought on both sides in this bloody conflict. The sailors of the Baltic fleet rebelled against harsh treatment by the Soviet authorities in the Kronstadt Rebellion of 1921.

The surviving ships formed the core of the Soviet Navy on its 1918 establishment, though the remnants of Wrangel’s fleet never returned to Russia.

PHOTO: View of the “Боярин / Boyarin” a second-rank protected cruiser built for the Imperial Russian Navy by Burmeister & Wain in Copenhagen, Denmark. Laundced in 1901, the hull featured a magnificent double-headed eagle bearing the monogram of Emperor Nicholas II. She served in the Russian Pacific Fleet and was sunk by a Russian naval mine near the entrance to Port Arthur, Manchuria, just after the start of the Russo-Japanese War.

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FURTHER READING

One of my many interests is the Russian Imperial Navy, during the reign of Nicholas II. In 2013, Uniform Press published an excellent book ‘The Imperial Russian Navy 1890s-1916’ by Vladimir Krestjaninov. I highly recommend this title to any one else who shares an interest in this subject.

“Russia has only two true allies,” said Emperor Alexander III, “its army and navy.”

This unique look at the Russian Imperial Navy in photographs from the late 19th and early 20th centuries, features 430 black and white images from archives, museums and private collections. It explores how the Russian Navy’s construction and activities were shaped largely by the interests, opinions and policies of Russia’s last tsar Nicholas II.

It includes a foreword by the author, and chapters such as ‘The Imperial Family and the Navy,’ and eleven other topics. It is interesting to note that the Imperial yachts were under the administration of the Naval Guards Corps.

Large soft cover format with 262 pages. Published by Uniform Press in 2013

© Paul Gilbert. 11 December 2024

Nicholas II’s stop at Dno, one day before his abdication in 1917

Posted on by Paul Gilbert

PHOTO: modern-day murual depicting the train stain in Dno

On 14th (O.S. 1st) March 1917, at 15:00, Emperor Nicholas II arrived at Dno on the Imperial Train, where an urgent telegram from State Duma Chairman Mikhail Rodzianko[1] awaited him:

“Dno station. To His Imperial Majesty. I am now leaving for Dno Station by emergency train to report to you, Sire, on the state of affairs and the necessary measures to save Russia. I earnestly ask you to wait for my arrival, for every minute counts.“

Without waiting for Rodzianko, the Tsar ordered the Imperial Train[2] to proceed on to Pskov, where he would meet up with Rodzianko, however, the chairman never arrived. On the night of 1st/2nd March, during a conversation with General Ruzsky[3] Rodzianko explained his “non-arrival” by the impossibility of leaving Petrograd in a situation where the revolutionary events in the capital threatened to develop into anarchy.

Emperor Nicholas II abdicated the following day, on 15th March (O.S. 2nd) March 1917, bringing an end to more than 300 years of the Romanov dynasty and the monarchy in Russia.

The Sovereign abdicated in the heartfelt belief that his abdication would save the honour of the army, prevent civil war and keep Russia in the war against Germany.

Sadly, it did not. In his diary, Nicholas wrote: “I am surrounded by betrayal, cowardice, and deceit.”

In memory of Emperor Nicholas II’s historic stop at Dno in March 1917, a mural of the pre-war railway station has been recreated, on the building of the museum and exhibition center in Dno. The artists of the mural are Ivan and Nikita Trakhov, both of whom are residents of Pskov.

“The mural will remind everyone of our history, the station, which Nicholas II saw from the window of his train,” said Mikhail Shaurkin, who serves as the head of the Dnovsky district .

The idea for the mural was conceived by the head of the museum Sergey Egorov. He wanted to recreate the historic look of the station as it looked more than a century ago. According to him, “many tourists, as well as residents of the city, are surprised to learn that there was a railway station in Dno before the Great Patriotic War.”

PHOTO: early 20th century postcard depicting the old wooden station at Dno

The original train station at Dno was constructed of wood in the Art Nouveau style. During the Great Patriotic War (1941-45) the building was destroyed by fire. After the war, a new station was built, which stands to this day.

NOTES:

[1] In an open act of treason against the Emperor, Grand Duke Kirill Vladimirovich wearing a red ribbon on his shoulders, under which the Marine of the Guard followed their commander, marched to Petrograd, where he presented himself at the State Duma, where he reported to Duma Chairman Mikhail Rodzianko. “I have the honour of appearing before Your Excellency,” said the Grand Duke . . . “I am at your disposal, as is the entire nation. I wish Russia only good.”

[2] With the outbreak of World War I, the Imperial Train became both a travelling residence for the Emperor, as well as a military field office, equipped with telephone and telegraph communications. A telephone network was installed for communication between all cars, each carriage having it’s own telephone.

[3] Nikolai Vladimirovich Ruzsky (1854-1918) was a Russian general, member of the state and military councils, best known for his role in World War I and the abdication of Tsar Nicholas II. He was shot by the Bolsheviks on 18th October 1918.

© Paul Gilbert. 10 December 2024

‘The True Story of the Romanov Family’ – UPDATED!

Posted on by Paul Gilbert

HOW TO ORDER THIS BOOK

NOTE: the English language edition of this book is now available in both hard cover and paperback editions. You can now order this book direct from the following suppliers in the United States:

AMAZON

St. Paisius Monastery Gift Shop 

In addition, you can order this book directly from the publisher in Romania. Books are shipped by mail or courier (DHL). I had NO problem ordering a copy, and received it promptly.

HOW TO ORDER FROM THE PUBLISHER: the order page is a bit confusing, because the actual order instructions located at the bottom of the page are in Romanian. Simply use Google (or similar) to translate, the rest is simply.

Click HERE to order your copy. Scroll down to the bottom of the page. Select ‘COVER TYPE’ – hard cover or paperback. To the left of the ‘ADD TO CART’ button, you must select how many copies you want. Click on ‘VIEW CART’ and ‘CONTINUE TO CHECKOUT’. payment is in Euros, credit cards accepted – PG

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The publishing division of the Diaconești Monastery in Moldavia, Romania, have published an exiting new title: The True Story of the Romanov Family.

Although an abundance of books have been written about the Imperial Family, the present work is an unparalleled graphic study. Drawing from a wealth of historical sources, including memoirs, diaries, letters and scholarly works on the Imperial Family, the publisher has painstakingly recreated key moments in their private and public lives. In addition, eleven Faberge eggs, meticulously painted by Romanian artist Ovidiu Gliga are prominently featured in the book.

The text of the book is complimented by Ovidiu Gliga’s artwork. Over the past four years, the publisher has collaborated closely with this exceptional artist, whose artwork helps envelope the reader. His work for this book is showcased in the video found at the end of this summary. This book has been issued in both English and Romanian editions, in both hard cover and paperback formats.

CLICK on each image below, to enlarge and view page in greater detail

According to the publisher, “this project has been a labour of love, driven by our admiration for these revered saints and our desire to present their lives in a visually engaging format suitable for readers of all ages. We believe it fills a significant void in the literature about the Imperial Family, offering a detailed exploration of their lives and the enduring impact on Russia’s history.”

It is interesting to note, that the monastery’s inspiration for this project was profoundly influence by the popular book The Romanov Royal Martyrs: What Silence Could Not Conceal, published in 2019 by the Mesa Potamos Monastery in Cyprus, which the nuns of the Diaconești Monastery translated into Romanian.

The Romanian-based publisher has prepared a 2-minute English language video, which will give readers a sample of this unique publishing project, including a glimpse of it’s content and Ovidiu Gliga’s beautiful colour illustrations.

CLICK on the red arrow below to start the VIDEO . . .

© Paul Gilbert. 27 September 2024

Repin’s painting of Nicholas II and the State Council installed in the Mariinsky Palace

Posted on by Paul Gilbert

PHOTOS: in December 2024, a copy of “The Ceremonial Meeting Of The State Council 7 May 1901” by Ilya Repin, was installed in the Great Hall of the Mariinsky Palace in St. Petersburg

One of the most iconic paintings which reflects the splendour of the Russian Empire has to be “The Ceremonial Meeting Of The State Council 7 May 1901”, by Ilya Yefimovich Repin (1844-1930). A copy of the great Russian artist’s masterpiece was recently installed in the Great Hall of the Mariinsky Palace in St. Petersburg. The palace has been the site of the Legislative Assembly of Saint Petersburg since 1994.

An exact copy of Repin’s painting was a gift from the St. Petersburg artist Oleg Lukyanov for the 30th anniversary of the city parliament. “We thank Oleg Lukyanov, and the director of the State Russian Museum Alla Manilova for this wonderful gift,” said Speaker Alexander Belsky at the opening of the legislature on 4th December 2024.

The chairman of the Legislative Assembly also noted that specialists worked on the painting for more than two months, while the final touches took an additional six days. An exact copy of the canvas is made in the technique of “urban fresco”, which makes it possible to achieve full compliance with the original painting.

Ilya Repin’s masterpiece was first presented to the public in St. Petersburg on 4th January 1904. The painting depicts Emperor Nicholas II and members of the State Council after the emperor read out a charter in honour of the centenary of the establishment of the Indispensable Council (the predecessor of the State Council).

PHOTOS: two views of copy of “The Ceremonial Meeting Of The State Council 7 May 1901” by Ilya Repin, was installed in the Great Hall of the Mariinsky Palace, in St. Petersburg

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A brief history of Repin’s masterpiece

PHOTO: the original “The Ceremonial Meeting Of The State Council 7 May 1901” by Ilya Repin, today hangs in the State Russian Museum in St. Petersburg. The canvas is so large, that it takes up an entire wall, in a hall dedicated to Repin’s masterpiece.

The original “The Ceremonial Meeting Of The State Council 7 May 1901” by Ilya Repin, has been in the collection of the State Russian Museum since 1938. The canvas is so large, that it takes up an entire wall, in a hall dedicated to Repin’s masterpiece.

It is among the most significant and largest paintings from the collection of the State Russian Museum: the large-format canvas measuring 4 by 8 meters [ 13 ft. by 26 ft.].

Painted under a state order, the painting truly conveys the splendor of the Russian Empire. More than a century ago, the political and bureaucratic elite in uniforms attend a solemn meeting in the Round Hall of the Mariinsky Palace. Secretaries are carrying anniversary medals, the future Minister of Internal Affairs Vyacheslav Plehve is standing in front of Tsar Nicholas II, who has finished reading a charter on the occasion of his 100th anniversary. The canvas was created specifically for the Mariinsky Palace, where meetings of the State Council were held.

“The Ceremonial Meeting Of The State Council 7 May 1901” is a collective portrait featuring no less than 81 figures. It was painted one hundred and twenty one years ago (1903), in which Repin was paid a large fee. The customer of the canvas, Emperor Nicholas II, was pleased with the result.

PHOTO: detail from Repin’s painting, which shows Emperor Nicholas II seated between two pillars, under a ceremonial portrait of himself – also by Ilya Repin – painted in 1895. His brother Grand Duke Mikhail Alexandrovich is seated to his right, and Grand Duke Mikhail Nikolayevich (1832-1909), who served as Chairman of the State Council, from 1881 to 1905, is seated to his left.

Founded in 1801 by Emperor Alexander I (1777-1825), the State Council celebrated its centenary with a ceremonial sitting in the Round Hall of the Mariinsky Palace in St. Petersburg on 7th May 1901. All the members of the State Council and the State Chancellery attended in full-dress uniform. Emperor Nicholas II and senior members of the Imperial Family are flanked by their ministers. Repin painted the scene from behind the chairs on the right (next to the columns.

He rapidly sketched the original modello on a canvas on which the perspective of the hall had already been marked out, working from a previously selected point. The artist later turned this study into a large picture with the help of two students from the Imperial Academy of Arts: Boris Kustodiev (1878-1927) and Ivan Kulikov (1875-1941). Every member of the State Council is depicted in natural and diverse poses, with strong physical resemblances.

PHOTO: the Round Hall in the Mariinsky Palace, as it looks today

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Ilya Yefimovich Repin (1844-1930)

Self-portrait (1887
From the Collection of the State Tretyakov Gallery (Moscow)

Ilya Yefimovich Repin (1844-1930) was a Ukrainian-born Russian painter. He became one of the most renowned artists in Russia in the late 19th to early 20th centuries. His works can be seen today in some of Russia’s most famous museums, including the Tretayakov Gallery in Moscow, the State Russian Museum in St. Petersburg, and the artist’s country estate of Penates, near St. Petersburg, among many others.

Following the ascension of Nicholas II to the throne in 1894, Repin painted a number of ceremonial portraits of the new Emperor. One of these, painted especially for the State Duma in 1905, was lost (among many others) following the February and October 1917 Revolutions.

It is interesting to note that Repin, who was an anti-monarchist, didn’t seem to mind being paid handsomely for the numerous ceremonial portraits and other commissioned paintings by Emperor Nicholas II. One of his most famous works, is The Wedding of Nicholas II and Alexandra Feodorovna (1894), which today hangs in the State Hermitage Museum in St. Petersburg.

Repin warmly welcomed the February 1917 Revolution, which overthrew the autocratic monarchy and proclaimed a republic, an event for which he was very happy. Shortly after the October Revolution of 1917, Repin would regret his support of the overthrow of the monarchy. After Lenin and the Bolsheviks launched the first Red Terror, Repin abruptly changed the bias of his work from anti-monarchist to anti-Bolshevik.

Repin died on 29th September 1930, at the age of 86, and was buried at his country estate Penates, in Kuokkala, now Repino, St Petersburg. His home is now a museum and a UNESCO World Heritage Site.

© Paul Gilbert. 8 December 2024

Nikolai Krasnov exhibition opens in Crimea

Posted on by Paul Gilbert

On 6th December 2024, a new exhibition dedicated to Nikolai Petrovich Krasnov (1864-1939), opened at Livadia Palace in Crimea. The exhibition is timed to the 160th anniversary of the birth of the outstanding Russian-Serbian architect and painter.

Krasnov is best known as the architect who planned and constructed many of the Romanov estates which dotted the southern coast of Crimea, during the late 19th and early 20th centuries. His masterpiece, of course, is the white Italian-style palace at Livadia, the Imperial Residence of Emperor Nicholas II and his family, during their stay in Crimea.

NOTE: click on the images below to enlarge and view each photo in greater detail.

The exhibition features photographs by the famous Yalta photographer and Supplier to the Imperial Court Ivan Ivanovich Semyonov, which depict the stages of the construction of the Livadia Palace. In total, Semenov took about 500 such photos.

Each photo on display in the exhibition includes an explanatory note, outlining the progress of construction, of which Krasnov regularly sent to St. Petersburg to the Ministry of the Imperial Court and Appanages for subsequent approval by the Emperor.

Some of these photos were placed in a special album “Construction of ‘Livadia’ the New Grand Palace in the Name of His Imperial Majesty 1910-1911“, which was presented to the Imperial Family. Fortunately the album has survived to the present day, and is now in the collection of the Livadia Palace Museum.

PHOTO from the exhibition: Livadia Palace under construction. 1911.
Photo: Ivan Ivanovich Semyonov

PHOTO: Nikolai Krasnov’s drawing of the Livadia Palace (1910)

In addition to the photographs are a materials related to the life and work of the architect, including his drawings of his projects, and a collection of beautiful watercolours of the Livadia Palace and gardens, painted by Nikolai Krasnov – NOTE: click on the link to view 10 of Krasnov’s watercolours – PG.

PHOTO: Northern facade of the Livadia Palace
Watercolour by Nikolai Petrovich Krasnov (1864-1939)

PHOTO: view of the Livadia Palace as it looks today

Livadia must have been beautiful before the First World War and the Russian Revolution. Krasnov had begun working on the project since the autumn of 1909. The new palace was built on the site of the old Large (Bolshoi) wooden Palace. Construction on the new white limestone palace began on 21st January 1910, and after 17 months of construction.

The palace was built in the Italian Renaissance style, and consisted of 116 rooms, with interiors furnished in different styles, . Emperor Nicholas II spent about 4 million gold rubles on the palace. Livadia Palace was inaugurated on 11th September 1911.

In November 1911 Grand Duchess Olga Nikolaevna celebrated her 16th birthday at Livadia. The Imperial family visited and stayed in their new Livadia Palace on only four occasions: in the autumn of 1911 and 1913 and in the spring of 1912 and 1914, where they took up residence for several months at a time. The Tsar even considered moving the capital of the Russian Empire to Yalta.

On 30th April, 1918, German troops entered Livadia and immediately began to plunder the palace. In 1993 the Livadia Palace received the status of a museum. In July 2022, Livadia Palace celebrated it’s 100th anniversary as a museum – NOTE: the link features 18 colour photos of the palace and it’s interiors, as they look today – PG.

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PHOTO: Nikolai Petrovich Krasnov (1864-1939)

Nikolai Petrovich Krasnov was born on 5th December (O.S. 23rd November) 1864, in the village of  Khonyatino, situated in the Kolomna district.

In 1876, at the age of 12, Nikolai entered the School of Painting, Sculpture and Architecture in Moscow, where he studied for 10 years. From 1887 to 1899 he served as the chief architect of Yalta. From 1889 to 1911 he ran his own architecture firm. The young architect was fully responsible for solving a wide range of issues related to the rapid development of Yalta as an all-Russian resort city.

In recognition for his work on Livadia Palace, on 5th October 1911, Krasnov was granted the title of Architect of the Highest Court and awarded the Order of St. Vladimir. On 6th December of the same year, he was assigned to the Main Directorate of Appanages of the Imperial Court, with the assignment of technical supervision of all construction and furniture and wallpaper work in the palaces and adjacent buildings, which were planned in the following years in Livadia. 

PHOTO: Nikolai Krasnov in his office in Yalta

Following the Bolshevik Revolution in 1917, in 1919, Nikolai Krasnov emigrated with his wife and daughter. They first lived in Malta for several years, before settling in Belgrade, Serbia in 1922. For the next seventeen years, Krasnov served as an inspector for the Architectural Division. He left a significant mark in the architecture of present-day Serbia.

Nikolai Krasnov died on 8th December 1939 in Belgrade, Serbia. He was buried in the Russian sector of the New Cemetery in Belgrade. 

To this day, the Serbian people deeply revere the memory of the Yalta architect, most famous for Livadia Palace, the Crimea residence of Nicholas II and his family.

© Paul Gilbert. 7 December 2024

In memory of His Holiness Patriarch Alexei II of Moscow and All Russia (1929-2008)

Posted on by Paul Gilbert

PHOTO: His Holiness Patriarch Alexei II of Moscow and All Russia

On this day – 5th December 2008 – His Holiness Patriarch Alexei II of Moscow and All Russia (1929-2008) died in Peredelkino, at the age of 79.

Alexei Mikhailovich Rüdiger was born in Tallinn, Estonia on 23rd February 1929. He was elected Patriarch of Moscow eighteen months prior to the fall of the Soviet Union in 1991. He became the first Russian Patriarch of the post-Soviet period to be chosen without government pressure; candidates were nominated from the floor, and the election was conducted by secret ballot.

In July 1998 Alexei II decided not to officiate at the funeral of Emperor Nicholas II and his family in the Saints Peter and Paul Cathedral in St. Petersburg, citing doubts about the authenticity of their remains. He also banned bishops from taking part in the funeral ceremony.

In the face of skepticism, Patriarch Alexei II was obliged to profess agnosticism over the identity of the bodies, as a way to avoid massive internal rifts within the church. He also claimed that the Church had been sidelined in the investigation.

The funeral was attended by Russian president Boris Yeltsin, Prince Michael of Kent and more than 50 descendants of the Romanov dynasty. Maria Vladimirovna Romanova, her son and her mother, were the only Romanov descendants who refused to participate, also citing doubts about the authenticity of the Rkaterinburg remains.

PHOTO: Patriarch Alexei and Queen Elizabeth II. Moscow, 18th October 1994

Instead, Patriarch Alexei II, Maria Vladimirovna Romanova, her son George Hohenzollern, and her mother Leonida Georgievna (1914-2010) attended a liturgy for the murdered Imperial Family at the Trinity Lavra of St. Sergius, the most important Russian monastery and the spiritual centre of the Russian Orthodox Church, situated in the town of Sergiyev Posad [named Zagorsk during the Soviet years], about 70 km north-east of Moscow.

Under His Holiness’s leadership, the New Martyrs and Confessors of Russia who suffered under Communism were glorified, beginning with the Grand Duchess Elizabeth, Metropolitan Vladimir, and Metropolitan Benjamin (Kazansky) of Petrograd in 1992.

In 2000, after much debate, the Council of Bishops of the Russian Orthodox Church glorified Emperor Nicholas II and his family, as Passion-Bearerss[1][2]. Their canonization took place on 20th August 2000, at the Christ the Saviour Cathedral in Moscow.

PHOTO: two very sombre photos of Patriarch Alexei standing at Mine No. 7 (collapsed) at Ganina Yama[3]. It was around this place, that the Monastery of the Holy Royal Passion-Bearers was built.

On 23rd September of the same year, during his visit to the Urals, Patriarch Alexei II laid a memorial capsule in the eastern wall of the foundation of the future church. The construction of the Church on the Blood in Ekaterinburg. The church, which was completed in 2003, was built on the site of the Ipatiev House, where the Imperial Family along with four faithful retainers were murdered on 17th July 1918. The Ipatiev House was demolished in September 1977.

On the same day, His Holiness visited the Ganina Yama[3] tract [situated 15 km (10 miles) north of Ekaterinburg] and, having blessed the establishment of the monastic monastery, put his signature on the master plan of the monastery. The first stone of the monastery was laid on 1st October 2000. On 27th December, the Holy Synod officially “blessed the opening of a monastery in the name of the Holy Royal Martyrs in the Ganina Yama[3] tract”. On 28th December, the all-male Monastery of the Holy Royal Martyrs was established here.

His Holiness Patriarch Alexei II of Moscow and All Russia died at his home in Peredelkino [southwest of Moscow] on 5th December 2008, from heart failure, aged 79. He died 80 days short of his 80th birthday.

The funeral service for His Holiness was performed at the Cathedral of Christ the Saviour in Moscow, he was buried in the Cathedral of the Epiphany, the vicarial church of the Moscow Patriarchs in Yelokhovo, located in the Basmanny district of Moscow.

Memory Eternal! Вечная Память! 

NOTES:

[1] Despite their official designation as “passion-bearers” in 2000, by the Council of Bishops of the Russian Orthodox Church, Emperor Nicholas II and his family are often referred to as “martyrs” in Church publications, icons, and in popular veneration by the people.

[2] Emperor Nicholas II and his family were canonized as martyrs by the Russian Orthodox Church Outside of Russia (ROCOR) in 1981.

[3] Ganina Yama is the generally accepted name of the abandoned Isetsky mine, located in the Four Brothers tract, overgrown with birch and pine forests, situated situated in the Sverdlovsk region.

© Paul Gilbert. 5 December 2024

Nicholas II’s stay at the Russian Embassy in Paris, 1896

Posted on by Paul Gilbert

During the autumn of 1896, Emperor Nicholas II made a tour of Europe, which included visits to Denmark, Germany, Austria, France and Great Britain. He was accompanied by Empress Alexandra Feodorovna and their first child Grand Duchess Olga Nikolaevna, who was just shy of her first birthday.

The Imperial Family arrived in Paris on 5th October 1896 For the next three days, the Embassy of the Russian Empire served as their Imperial Residence. Russia’s ambassador to France at the time was Baron (since 1894) Arthur Freiherr von Mohrenheim (1824-1906), who held the post from 8 February 1884 – 18 November 1897.

In anticipation of the August visit, the ambassador, did everything he could to make the residence look like a palace. For three days, the house on the rue de Grenelle became the scene of the Franco-Russian Summit. The words of the revolutionary Marseillaise were sung, followed by those of the Russian Imperial Anthem God Save the Tsar!.

PHOTO: the Embassy of Russian Empire (as it looked in 1896)
situated at 79 rue de Grenelle in the 7th arrondissement, Paris

A lavish suite of rooms – which included a Throne Room – were decorated to the highest standards, all befitting the newly crowned Emperor and Empress of Russia.

Nicholas II’s and Alexandra Feodorovna’s apartments were located on the main floor of the Embassy. Next to the Small Salon, decorated with busts of Their Majesties, was the Empress’s Boudoir, decorated with magnificent carpets; then – the Emperor’s Study and the Reception Hall, decorated in green silk. The Imperial Bedroom’s were located on the right side of the main floor. The Empress’s Bedroom, was modestly and at the same time very elegantly furnished, decorated in white and gold; with mauve [her favourite colour] coloured furniture made of woven silk.

On the second floor was Grand Duchess Olga Nikolaevna’s bedroom, which contained a small crib with white curtains, next to an iron bed for the wet nurse; furnished with white lacquered furniture.

The following illustrations of the luxurious interiors of the Imperial Family in the Embassy of the Russian Empire, were originally published in the St. Petersburg newspaper Neva and World Illustration magazine, 1896.

PHOTO: the throne Room, note the portrait of Nicholas II behind the throne

PHOTO: the Imperial Bedroom

PHOTO: Grand Duchess Olga Nikolaevna’s bedroom

PHOTO: the Dinging Room

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The building was designed by Robert de Cotte, architect of King Louis XIV, and built between 1711 and 1713 for Madeleine-Diane de Bautru de Vaubrun, the Duchesse d’Estrées (1668-1753). After belonging to several owners, it was purchased by the Russian Imperial Government in 1863 and became the Embassy of the Russian Empire in France.

Following the purchase, the Russian government made extensive changes to the former mansion and it’s interiors. Both Emperor Alexander II (1867) and his grandson, Nicholas II (1896), stayed in the residence when they visited Paris.

In 1977 the Russian Embassy was moved to another building, while the old embassy building became the residence of the Ambassador of the Russian Federation to France. Today, it is known as the Hôtel d’Estrées, and is classified as a historic monument of France.

PHOTO: The White Salon, which served as the Imperial Bedroom.
Note the bust of Nicholas II (circled in red), on a side-table, next to the fireplace.

PHOTO: a bust of Emperor Nicholas II now rests on a side-table, next to the fireplace in the White Salon, formerly the Imperial Bedroom, during the Imperial Family’s visit in October 1896.

The interiors of the former Imperial Apartments of Emperor Nicholas II and Empress Alexandra Feodorovna have survived to the present day. Among the modern-day interiors of the Russian Ambassador’s residence, the Red Salon, which was used for official ceremonies, and was used as the Throne Room by Nicholas II, the Bleu (Blue) Salon  was used as his private study, while the White Salon served as the Imperial Bedroom during the August couple’s visit to Paris in 1896.

Today, the former Embassy is known as the Hôtel d’Estrées, and official residence of the Russian Ambassador. Over the years, the building has been the venue for receptions and exhibitions, hosted by the Ambassador. On 3rd September 2013, the Russian Ambassador officially opened an exhibition dedicated to the 400th anniversary of the house of Romanov

Click HERE for a VIRTUAL TOUR of the Residence of the Russian Ambassador

© Paul Gilbert. 30 November 2024

130th anniversary of the Wedding of Nicholas II and Alexandra Feodorovna, 1894

Posted on by Paul Gilbert

PHOTO: Wedding of Nicholas II and Alexandra Feodorovna
Painted in 1895 by the Danish artist Laurits Tuxen (1853-1927)
From the collection of the State Hermitage Museum, St. Petersburg

NOTE: the following is an excerpt from the original full-length version (researched from Russian sources), which will be published in the No. 14 – Winter 2025 issue of my semi-annual periodical SOVEREIGN: The Life and Reign of Emperor Nicholas II. The full article will feature expanded text, with more facts and information, and illustrated with additional photos. This issue is scheduled to be released in December 2024 – PG

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Today 27th (O.S. 14th) November – marks the 130th anniversary of the wedding of Emperor Nicholas II and Grand Duchess Alexandra Feodorovna[1] in St. Petersburg.

It was on this day in 1894, that the ceremony took place in the Church of the Saviour Not Made by Hands [aka the Grand Church] (the home church of the Imperial Family) of the Winter Palace in St. Petersburg.

Plans for the wedding, had originally been set for the spring of 1895, followed by a week of public celebrations. The death of Emperor Alexander III on 2nd November [O.S. 20th October], however, put an end to such plans. The date for the wedding was now scheduled to take place on the birthday of Nicholas II’s mother, Maria Feodorovna, which would allowed for court mourning to be somewhat relaxed.

To announce the historic occasion, a manifesto was issued, proclaiming “In the midst of deep sorrow, with which Our hearts and those of all the faithful sons of Russia are filled, may this day be a bright herald of the people’s hopes for the continuation of God’s mercy to Us in the new reign that has come.”

Invitations were sent out, the dress code was determined. Russian gentlemen had to appear in full regimental uniform, officials had to dress in uniforms, according to the Table of Ranks of Peter the Great. Russian ladies had to appear in ceremonial court dresses, and foreign women were invited to appear in evening dresses, with full awards and jewelry.

The wedding was attended by Nicholas’s mother, the recently widowed Dowager Empress Maria Feodorovna, as well as members of the Russian Imperial Family, which included 14 grand dukes, 6 grand duchesses. In addition, were Kings, Queens, Princes and Princesses from more than a dozen royal houses of Europe: Denmark, Greece, Great Britain, Roumania, Prussia, Oldenburg, Hesse and by Rhine, Saxe Coburg, Mecklenburg, Mecklenburg-Stelitz, Baden, Leuchtenberg, and Saxe-Altenburg.

As photography was not permitted during weddings, baptisms, funerals, etc., in Orthodox churches, we only have paintings and illustrations which depict the wedding. This restriction has been somewhat relaxed in more modern times.

PHOTO: Wedding of Nicholas II and Alexandra Feodorovna
Painted in 1894 by the Russian artist Ilya Yefimovich Repin (1844-1930)
From the Collection of the State Russian Museum, St. Petersburg

On the day of the wedding, in the morning, the Emperor left the Anichkov Palace for the Winter Palace in an open landau, accompanied by his brother, Grand Duke Mikhail. The Dowager Empress went in a closed carriage to the Sergiev Palace – the St. Petersburg residence of Grand Duke Sergei and Grand Duchess Elizabeth, from where she escorted Alexandra Feodorovna to the Winter Palace.

Nicholas Alexandrovich was dressed in the red uniform of a hussar colonel with orders and an orange sash of the Order of Hesse-and-by-Rhine. The bride wore a dress of white silk with silver flowers. Her English Honiton lace veil was created by her maternal grandfather, Prince Albert of Saxe-Coburg and Gotha (1819-1861). This veil was worn at the weddings of the brides mother Princess Alice (1843-1878) and her sisters. Alexandra Feodorovna also wore the traditional Romanov Imperial Wedding Crown, a 475-carat necklace and earrings, which belonged to Catherine the Great. Her ensemble was completed by a golden brocade robe with a long train, lined with ermine. Eyewitnesses at the wedding noted that “she shone with fragile and pure beauty.”

PHOTO: the wedding dress of Alexandra Feodorovna
From the Collection of the State Hermitage Museum in St. Petersburg

It is interesting to note, that the wedding dress of Empress Alexandra Feodorovna was based on a sketch made by her sister Grand Duchess Elizabeth Feodorovna. According to tradition, Romanov brides donated their wedding dresses to the church after their wedding. However, Alexandra Feodorovna, chose to keep hers, which is why her wedding dress has survived to this day, and now in the Collection of the State Hermitage Museum in St. Petersburg.

At noon, the procession of the cross to the Church of the Saviour Not Made by Hands [aka the Grand Church], which served as the home church of the Imperial Family began. The cannons of the Peter and Paul Fortress announced the beginning of the ceremony. The procession was led by Dowager Empress Maria Feodorovna, who accompanied her future daughter-in-law. Nicholas Alexandrovich followed behind.

The service was conducted by the imperial confessor and head of the palace clergy, Protopresbyter Ioann Yanyshev (1826-1910). Nicholas II stepped onto the platform, followed by Alexandra Feodorovna. The couple exchanged rings and wedding vows, walked around the lectern, and kissed the cross. After the prayer, Nicholas and Alexandra were declared husband and wife. Church bells rang all over St. Petersburg, while cannons roared from the Peter and Paul Fortress.

Nicholas II recalled that the wedding ceremony was a torment for both him and his young wife: “The thought that our dear, selflessly beloved Papa was not among us, did not leave me during the wedding; I had to exert all my strength not to burst into tears there in the church in front of everyone.”

Thus, the modest wedding ceremony took place in an atmosphere of deep mourning for the deceased Emperor Alexander III. Due to court mourning, there was no reception, nor honeymoon. During the 12 months in which the Imperial Court was in mourning, Nicholas II and Alexandra Feodorovna seldom appeared in public and did not make any journeys. The newly married couple settled together with Dowager Empress Maria Feodorovna in the Anichkov Palace on Nevsky Prospekt in St. Petersburg.

PHOTO: the Church of the Saviour Not Made by Hands 0 the home church of the Imperial Family
as it looks today, in the Winter Palace in St. Petersburg

NOTES:

[1] Following her conversion to Orthodoxy, Princess Alix of Hesse and by Rhine took the name Grand Duchess Alexandra Feodorovna, in honour of the Feodorovskaya Icon of the Mother of God, patroness of the Romanov dynasty. While her conversion was completely voluntary, it was required by her marriage to the Emperor as well as her future role as Empress.

“No more separations. At last united, bound for life, and when this life is ended we
meet again in the other world to remain together for all eternity. Yours, yours.”

© Paul Gilbert. 27 November 2024

Watch all 5 episodes of ‘The Romanovs. The Final Word’ 

Posted on by Paul Gilbert

NOTE: this article has been updated from it’s original (published on 15th December 2023), with episode No. 5. All 5 episodes are now available in one video, the duration of which is 3 hours and 28 minutes. While the audio is in Russian, you can adjust the settings to translate in English (or other languages), and then turn on the close-captioning for English subtitles – PG (26 November 2024)

The 5-part series ‘The Romanovs. The Final Word‘, a new Russian-language documentary series is now available to watch on the Russian actor Danil Smirnov’s YouTube page.

In 1964, members of the firing squad Grigory Petrovich Nikulin (1894-1965) and Isai Radzinsky, on the orders of Nikita Khrushchev, recorded their memories of the execution of the Imperial Family in July 1918. These audio recordings were subsequently ordered sealed and stamped “SECRET” and placed in the archives. These important historical recordings are now made public for the first time in the documentary series ‘The Romanovs. The Last Word.’

For the first time, this documentary series reconstructs in detail one of one of the most notorious crimes in 20th century Russian history – the murders of Emperor Nicholas II and his family – based on the memories of the killers. as well as the circumstances of hiding the bodies by a team of executioners. The project was narrated by Sergey Minaev.

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PLEASE NOTE that this series is currently only available in Russian. I do not know if or when an English language edition will be made available. In the meantime, I will continue to search for the series with English subtitles and update this post – PG

Episode 1 to 5. Duration: 3 hours, 28 minutes, 25 seconds

PLEASE NOTE that this series is currently only available in Russian. I do not know if or when an English language edition will be made available. I will continue to search for the series with English subtitles and update this post – PG

FURTHER READING:

“The Romanovs. The Final Word” viewed more than 1 million times!

The Romanovs. The Final Word + TRAILER

© Paul Gilbert. 15 December 2023

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