A famous Moscow atelier has recreated an iconic shirt initiated by Emperor Nicholas II in 1913. The shirt designed by Levelsuit, feature the Imperial Russian Coat-of-Arms embroidered on the left pocket. The white shirt is almost identical to the one worn by the Tsar in early 20th century photographs.
In 1913, on the initiative of Emperor Nicholas II, a sports uniform for the Russian Imperial Army was created. The idea was thoroughly researched, in which designs were developed for different sports: gymnastics, fencing, athletics, yachting, cross-country skiing and tennis.
PHOTO: Emperor Nicholas II (with his daughter Grand Duchess Tatiana Nikolaevna), wearing the shirt during a tennis match at Livadia, in the Spring of 1914
It was the imperial uniform for tennis players that served as the prototype for Levelsuit’s new shirt.
This consisted of a white tennis shirt made of thin linen, soft cuffs and small, flat mother-of-pearl buttons. In the middle of the chest there is a slit with a bow fold and three pleats on the sides. The embroidered coat of arms was similar to that of yachtsmen’s shirts, on the left side of the chest. The shirt was worn with white flannel or cloth trousers, and a tricolor belt. The uniform turned out to be so comfortable and stylish, that it was regularly worn by the Emperor himself, who was an excellent and enthusiastic tennis player.
Levelsuit’s new design is almost an exact copy of the shirt worn by the Imperial Tennis Team and by the Tsar. The shirts, which are available in white or black, are currently only available in Russia.
Unfortunately, for those of us in the West, it is currently not possible to order one of these shirts, due to the economic sanctions against the Russian Federation. Both MasterCard and Visa have suspended operations in Russia, making it impossible to order any goods online for the foreseeable future.
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
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.
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:
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 . . .
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.
NOTE:the following is an excerpt from the original full-length version (researched from Russian and French sources), which will be published in the No. 15 – Summer 2025 issue of my semi-annual periodicalSOVEREIGN: 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 June 2025 – PG
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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
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 periodicalSOVEREIGN: 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 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 Grand Church (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 Grand Church (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.”
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
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
I have published nearly 30 titles to date through AMAZON – featuring one of the largest selections of books on Nicholas II, the Romanov dynasty and the history of Imperial Russia.
Please CLICK on the BANNER or LINK above to review my current selection of titles in hardcover, paperback and ebook editions. Listings provide a full description for each title, pricing and a Look inside feature.
One of the smallest, yet most interesting interiors of the private apartments of Emperor Nicholas II in the Alexander Palace, is the Valet’s Room. During the reign of the last Tsar, the interior was separated by a large white partition. In the first half was the Emperor’s dressing room, while the second half was used by the valet on duty.
The Tsar’s dressing room was furnished with a large special built-in oak wardrobe with sliding doors and drawers, in which the Emperor’s clothes: uniforms, shoes, hats, underwear and various accessories were kept.
The clothes worn by Nicholas II were sewn by St. Petersburg’s finest craftsmen. One uniform benefited the experience of several generations of craftsmen. The Tsar’s uniforms, coats and hats embodied all the achievements of sewing technologies of the early 20th century. The Emperor’s uniforms were made of a wide variety of materials: leather, fur, feathers or horsehair, metals, wood, and so on.
The collection of the Tsarskoye Selo State Museum maintains a significant number of items that made up the military wardrobe of Emperor Nicholas II – almost 800 items that were made in the late 19th – early 20th centuries. Among these are the uniforms sewn for Nicholas II, when he was still the heir to the throne, have been preserved. The last Emperor of the Russian Empire wore the uniform (ceremonial and everyday) of military units of both the Russian Imperial Army and those of foreign states, of which he was an Honorary Colonel or Commander-in-Chief.
At the beginning of the 20th century, the cost of a standard uniform of the Guards infantry with lapel was 150 rubles. Traditionally, cloths of different colours were used for uniforms: green for infantry; red, blue, white, even brown for cavalry. The ceremonial uniforms were embroidered with gold or silver, which the last Emperor proudly wore.
Today, the Valet’s Room in the Alexander Palace presents several samples of authentic uniforms of various regiments of the Russian Imperial Army, worn by Nicholas II, in the original oak Imperial Wardrobe. In addition, other uniforms of Nicholas II from the wardrobe are on display in the nearby Sovereign’s Martial Chamber at Tsarskoye Selo.
By 1917, up to 1500 uniforms of the Emperor were stored in oak wardrobes in the dressing room of Nicholas II in the Alexander Palace. It is interesting to note, that during the 1930s, part of the collection of Nicholas II’s uniforms were transferred from the Alexander Palace to the Artillery Historical Museum in St. Petersburg, where they remain to this day.
In recent years, the uniforms of Nicholas II from the funds of the Alexander Palace, have been loaned out for exhibitions in such cities as St. Petersburg, Moscow, Tula[includes 21 colour photos], Novosibirsk and Minsk.
Click on above image to watch the video. Language: Russian. Duration: 11 minutes
For ENGLISH SUBTITLES (or other language), CLICK on the “SETTINGS” located between the “CC” and “YouTube” buttons. CLICK on “Subtitles/CC”, then click “Auto-translate” link, then choose “ENGLISH” or other language. ENJOY!
On 1st November 2024 – a monument to Grand Duke Sergei Alexandrovich (1857-1905) and Grand Duchess Elizabeth Feodorovna (1864–1918) was unveiled and consecrated on the square near the Tretyakovskaya metro station in Moscow.
The installation of the monument is timed to the 160th anniversary of the birth of Grand Duchess Elizabeth Feodorovna, born Princess Elisabeth of Hesse and by Rhine.
The sculptural composition was designed by the artist Georgy Frangulyan. The grand ducal couple are represented on the day of their wedding on 16th (O.S. 3rd) June 1884.
Behind the two bronze figures are four granite steles, one of which features a bas-relief depicting Emperor Nicholas II – seen in the photo above.
Nicholas II 
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