Scepter- a staff generously decorated with gems and crowned with a symbolic (usually a coat of arms: fleur-de-lis, eagle, etc.) figure, made of precious materials - silver, gold or ivory; along with the crown, one of the oldest insignia of autocratic power. In Russian history, the scepter was the successor to the royal staff - an everyday, and not ceremonial, symbol of the power of the kings and grand dukes, who once accepted these regalia from the Crimean Tatars as a sign of their vassal oath. The royal regalia included a scepter “made of one-horned bone three feet and a half long, set with expensive stones” (Sir Jerome Horsey, Notes on Muscovy of the 16th century) included in 1584 at the crowning of Fyodor Ioanovich. This insignia of power, presented at the altar of the temple by the Patriarch of All Rus' into the hands of the Anointed One of God, was then included in the royal title: “God in the Trinity, glorified by the mercy of the sceptre-holder of the Russian kingdom.”
The scepter was included in the Russian state emblem a century later. He took his traditional place in the right paw of the double-headed eagle on the 1667 seal of Tsar Alexei Mikhailovich.
Power- a symbol of monarchical power (for example, in Russia - a golden ball with a crown or cross). The name comes from the Old Russian "d'rzha" - power.
Sovereign balls were part of the attributes of power of the Roman, Byzantine, and German emperors. In the Christian era, the orb was crowned with a cross.
The orb was also the insignia of the Holy Roman Emperors and English kings, starting with Edward the Confessor. Sometimes in fine art Christ was depicted with an orb as the Savior of the World or God the Father; in one of the variations, the orb was not in the hands of God, but under his foot, symbolizing the celestial ball. If the scepter served as a symbol of the masculine principle, then the orb - of the feminine.
Russia borrowed this emblem from Poland. It was first used as a symbol of royal power at the crowning ceremony of False Dmitry I. In Russia it was originally called the sovereign apple. Since the reign of Russian Emperor Paul I, it has been a ball of blue yacht, sprinkled with diamonds and crowned with a cross.
Power It is a sphere of precious metal topped with a cross, the surface of which is decorated with gems and sacred symbols. Powers or sovereign apples (as they were called in Rus') became permanent attributes of the power of a number of Western European monarchs long before the crowning of Boris Godunov (1698), however, their introduction into use by Russian tsars should not be considered an unconditional imitation. Only the material part of the ritual could seem borrowed, but not its deep content and the symbolism of the “apple” itself.
The iconographic prototype of the power is the mirrors of the archangels Michael and Gabriel - as a rule, gold disks with the initials of Jesus Christ or a half-length image of Emmanuel (Christ the Youth). Such a mirror, and after it the sovereign apple, symbolizes the Kingdom of Heaven, the power over which belongs to Jesus Christ and through the rite of anointing is partly “delegated” to the Orthodox Tsar. He is obliged to lead his people to the final battle with the Antichrist and defeat his army.
Ancient state regalia belong to the most significant state symbols. These include crowns, crowns, scepters, orbs, swords, bars, shields, thrones. However, the sovereign appeared in full vestments only a few times a year - during the most important church holidays and at receptions of especially important foreign ambassadors. Some regalia were used only once during the life of the monarch. Currently, the original regalia of the Moscow, and later the Russian, state are stored in the collection of the State Armory Chamber of the Moscow Kremlin. In this article we will talk about the royal regalia in chronological order, starting with the most ancient.
Royal regalia in the collection of the Armory Chamber
The most ancient symbol of princely power is the sword. For the first time they began to depict him on ancient icons. A little later, a shield was added to the sword. Thus, princely power was primarily symbolized by weapons, in ancient times by a shield and a sword. However, the state shield and state sword in the collection of the armory date back to the 16th-17th centuries.
About the shield - below.
The most ancient regalia presented in our treasury is the Monomakh cap. It is described in detail in the article. Let us briefly repeat the main facts.
Royal regalia. Monomakh's hat
There is an ancient “Tale of the Princes of Vladimir”, according to which Vladimir Monomakh was married to the Great reign of Kiev with the Cap of Monomakh. The legend says that the crown was given to him by the Byzantine Emperor Constantine Monomakh, who was the grandfather of the Kyiv prince. (Details about “The Tale of the Princes of Vladimir” are described in the article ) .
On one of the bas-reliefs of the Monomakh throne you can see that Prince Vladimir is depicted wearing Monomakh’s hat.
Monomakh's throne. Fragment The story that the Byzantine emperor granted this hat to the long-time ancestor of Ivan the Terrible was actively spread during the time of Tsar Ivan. However, this is nothing more than a beautiful legend invented to explain (legitimize) the new status title of Sovereign of All Rus'. Back in the 19th century, historians refuted the Byzantine version of the origin of the Monomakh Cap.
To this day, there are three versions about the place of manufacture of this regalia. According to the first of them, the Monomakh cap could have been made in Byzantium, but not under Emperor Constantine, but much later, during the reign of the Palaiologos in the 14th-15th centuries. This version is supported by the fact that the filigree on the product is of very high quality, typical of Byzantine masters.
There is another hypothesis, according to which the Monomakh cap is of Central Asian origin. This is indicated by the lotus flower motif in her decoration. The probable place of its manufacture could be Samarkand or Bukhara.
The third version says that this is the work of Greek craftsmen who worked in Moscow.
It is possible that the Tatar Khan Uzbek gave the Monomakh hat to Ivan Kalita. Such a gift was an offering from the khan to his vassal, so at the Russian court this version was hushed up and the crown was passed off as a Byzantine work.
They put the Monomakh cap not on the head, but on a special cap made of brocade.
Crowning ceremony
All medieval rulers, including Western ones, were guided by Constantinople in the symbols of the state. In many European states there were crowns similar to the crown of the Byzantine emperor. Such crowns almost always depicted Christ wearing a crown. This reflected the idea of the divine origin of power. The Sovereign is God's anointed and the conductor of the teachings of Christ on earth.
Crown of Constantine IX Monomakh. XI century. Photo from the site http://botinok.co.il/node/52192 The first one described in detail dates back to the end of the 15th century. Sovereign Ivan III crowned his grandson, Tsarevich Dmitry Ivanovich, with a golden crown for the Moscow reign, i.e. Monomakh's hat. It is also known that barmas - golden chains - were placed on him. Historians have not yet explained the origin of the barm.
In the crowning ceremony in Rus' there was also the custom of showering the prince with coins. Although it is known that in Byzantium and the West coins were thrown into the crowd. Most likely, the Russian ambassadors who attended the emperor’s wedding ceremony in Constantinople did not quite understand this ritual, or conveyed it inaccurately. That’s why they showered the prince himself with coins. After which those present at the ceremony were allowed to pick them up.
The last wedding of the great reign took place in 1534. Then the young Grand Duke John IV Vasilyevich was crowned. In 1547, Ivan IV was crowned king; an image of this ceremony was preserved in the Litsey Chronicle.
In addition to the sword, shield, Monomakh cap and barm, one of the most important state regalia is the cross. In the collection of the Armory Chamber, a sliver of the original cross of Jesus Christ is inserted into the cross.
Regalia of Tsar Ivan Vasilyevich IV the Terrible. Royal regalia
Kazan hat. Royal regalia
The second oldest crown in the collection of regalia of the Armory Chamber is KAZAN HAT. It did not reach us in its original form; it was remade at the beginning of the 17th century. Initially, the Kazan cap was crowned with a large emerald, which we now see on the cap of Mikhail Fedorovich.
There is also no consensus regarding the place of its manufacture. Perhaps it was made in Moscow during the time of Ivan the Terrible in honor of the conquest of the Kazan Khanate and repeats the crown of the Tatar Khan. It is possible that this is the original crown of the ruler of Kazan, taken as a trophy during the campaign of Ivan the Terrible.
A mystery for researchers is the composition of the dark-colored material that forms the background of the Kazan cap. It is reliably known that this is not niello or enamel. To conduct a chemical analysis of the material, you need to scrape off a small part of the coating. Currently this is not possible. Considering the unknown technique of making this background, the Kazan hat is most likely not of Moscow origin.
For foreigners, a crown of this shape evoked an association with the papal tiara. They believed that Ivan the Terrible was encroaching on world domination. In Rus', during the time of Ivan the Terrible, a legend appeared that Rurik was a descendant of the Roman Emperor Augustus.
At the crowning of Ivan the Terrible in 1547, the first Russian Tsar was not anointed with myrrh. The first sovereign who was truly “anointed” to the throne was his son, Tsar Fyodor Ioannovich.
Bone throne. Royal regalia
The “Bone Throne,” although called the throne of Ivan the Terrible, may not have anything to do with this king.
This throne contains plates that date back to the 16th century. In addition to ivory, it contains walrus ivory, mammoth ivory and even beef. Russian craftsmen repaired the throne at different times and made some of the lost elements from beef bone.
Genuine ivory is found in the first tier of the throne, which depicts scenes of King David's anointing as king. Below are images of pagan, ancient scenes taken from Greek mythology. That is why historians conclude that the throne was assembled in parts from elements from different times.
Bone throne. Fragment The double-headed eagle located on the back of the throne is a symbol of the empire. He was depicted not only on the coat of arms of the Russian, but also the Austrian Empire. There is a version that instead of an eagle on the back of the throne there was previously an image of Juno. 
Maybe the throne belonged to Ivan the Terrible, but it was brought to Moscow later.
In the 18th-19th centuries, a legend arose that this throne was brought to Moscow by the Greek princess Sophia Paleologus at the end of the 15th century. It is interesting that Ivan the Terrible was depicted on this throne twice. There is a well-known sculpture by Antokolsky, where the king is depicted sitting on a bone throne. also depicted this throne. Although historians have a question about what this throne was doing on the women’s half of the palace, where the tragedy occurred, which served as the subject for Repin’s painting. (Both images are exhibited in the Tretyakov Gallery collection).
Regalia of Tsar Fyodor Ioannovich. Royal regalia
Barmy
Barmas, which are also part of the state regalia, are now exhibited in a showcase with secular dress, along with the payment of Peter I. They depict Christian saints. They were made at the end of the 16th century in the gold-embroidery workshop of Tsarina Irina Godunova, the wife of Tsar Fyodor Ioannovich. 
Each time during the royal wedding ceremony, the barmas were redone. This thing was individual and did not suit another person, because the host of patron saints of one person did not correspond to the patron saints of another and the new king could not use the barmas of his predecessor. On the barmas of Tsar Fedor is embroidered with silks and precious threads - the Deesis - the prayerful appearance of the Mother of God and John the Baptist before the Heavenly King and the Earthly Judge.
SCEPTER first appeared in the crowning ceremony of Tsar Fyodor Ioannovich in 1584.
Regalia of Tsar Boris Godunov
The orb was first used at the wedding of Tsar Boris Godunov in 1598.
Throne of Tsar Boris Godunov
The THRONE OF TSAR BORIS GODUNOV, an Iranian work, is also exhibited in the GOP collection. This is a gift in 1604 from the Persian Shah Abbas II. 
In Iran, such a piece of furniture did not serve as a throne. Usually they made two such chairs and a table to go with them. The curators of the collection still do not know whether Boris Godunov received a complete set as a gift or just one throne. They could not use this chair as a throne itself, because it has no back. It could serve as an external throne. The original upholstery has not been preserved; in its modern form, the throne is upholstered in French fabric from the 18th century.
Regalia of Tsar Mikhail Fedorovich. Royal regalia
WEDDING TO THE KINGDOM OF TSAR MIKHAIL FYODOROVICH. The miniature was published in the book by I.A. Bobrovnitskaya “Regalia of Russian Sovereigns” Power
The power of Tsar Mikhail Fedorovich was made in Western Europe, in Prague, in the workshops of King Rudolf II. Most likely, these regalia were brought to Rus' by the Caesar's embassy.
Tsar Mikhail Fedorovich The diplomats secretly handed over the royal order, because the presentation of state regalia in international diplomacy was a sign of recognition of the vassal status of the sovereign to whom these regalia were presented. (Remember that not a single documentary evidence has yet been found that Uzbek presented the state regalia, the Monomakh cap, to Ivan Kalita. If such a fact took place, it was carefully “forgotten”).
The order for the production of state regalia made to the Bohemian King Rudolf II was, although honorable, given at an unofficial meeting. There is a version that Fyodor Ioannovich ordered the regalia, but he died before he could use it. Boris Godunov also did not have time to put them on, since he soon also ordered him to live long.
Chain
Mikhail Fedorovich’s regalia at his coronation in 1613 included a chain.
Chain frame of Tsar Mikhail Fedorovich. Moscow, Kremlin workshops, 17th century. This is one of the oldest chains that have come down to us. The royal title is depicted on the links of the chain. Although it is believed that the chain belonged to Mikhail Fedorovich, historians have not come to a consensus as to what time this title engraved on the chain dates back to - either 1613, or the end of his reign, the 1640s.
Other chains in the collection are most likely Western European work. Crosses were attached to them.
Chain from the collection of the Armory Chamber. Western Europe, XVI century. Barmas of Tsar Mikhail Fedorovich Romanov are in the museum's collections.
Crown of Tsar Mikhail Fedorovich
The crown of Tsar Mikhail was made in the royal Kremlin workshops. The master who made it was from Germany, although in the documents on receiving fees he is listed under a Russian name. For the Russian Middle Ages, this was a common practice: changing foreign names and replacing them with Russian ones. The master received an order to restore the hat, lost during the Time of Troubles, and make a new one in the manner of a scepter and orb, so that the stylistic unity of all three items was observed.
Crown, scepter and orb of Tsar Mikhail Fedorovich The emerald that crowns the cap was taken from the Kazan cap of Ivan the Terrible.
An interesting story happened with Nicholas I in Warsaw, when he was crowned in the capital of Poland. The sapphire was given to the emperor. Allegedly, he was part of the Russian crown, which was taken to Poland during the Time of Troubles. Initially, a complete set was made in Rudolf's workshops - a hat, a scepter and an orb. The hat disappeared during the Time of Troubles, supposedly becoming a trophy of the Polish conquerors. And all that was left was a sapphire, which was presented to the Russian autocrat.
Throne of Tsar Mikhail Fedorovich
There is a version that the throne of Tsar Mikhail Fedorovich arrived in 1629 from Iran. This is another gift from the Persian Shah Abbas. The throne has been heavily redesigned. It is decorated with gold plates, weighing a total of about 13 kg of gold. 
Among the stones, red stones predominate - tourmalines and rubies, as well as blue turquoise. Other gems include lilac amethysts, large yellowish-green peridots and emeralds. The two largest stones are diamond-shaped topazes. Iran really needed good relations with Russia. This need can be judged by the cost of the “golden” throne.
Staff
The staff was also included in the state regalia. It is known that when Tsar Vasily Shuisky was overthrown, the first thing they did was take away his staff. When Mikhail Fedorovich was called to the throne, a staff was also brought to Kostroma as a regalia for the young Romanov. . Mikhail Fedorvich's staff is decorated with sapphires and griffin faces.
The staffs of clergy and secular persons are quite easy to distinguish. On clergy staffs, the ends of the handle are directed downward, but on secular ones they are not.
Regalia of Tsar Alexei Mikhailovich. Royal regalia
Diamond Throne
The Diamond Throne has been preserved without alterations. The Latin inscription on the back glorifies the wisdom of the king. 
Instead of European lions, oriental elephants are depicted. The throne was brought by a company of merchants who asked the king to allow them duty-free trade. The question arises: where was the throne ordered? Everything suggests that the throne was ordered from Iran. Then did the Shah of Iran know that his craftsmen were working “to the left” for the Russian Tsar? Apparently he knew. Just as Rudolf knew that his craftsmen were fulfilling the order of Boris Godunov.
But according to etiquette, the Russian Tsar could not accept such a gift from lower ranks. He bought the throne from the merchants for 7,000 rubles. This is the only case in history when the throne tried to bribe the king. But the Russian tsars are incorruptible, they paid the money, and shelved the petition. Merchants received the right to duty-free trade only 7 years later, because the fulfillment of their request was contrary to the interests of the state.
Turkish jewelry in the collection of the Armory Chamber. Royal regalia
The collection contains an orb made in the Turkish style. A power is a symbol of a state. The state prospers during the reign of the sovereign.
Orb and scepter of Tsar Alexei Mikhailovich It has not yet been possible to find out the chronology of the Turkish scepter. It was made either in 1639 or 1659. And if in 1639, then it was not Alexei Mikhailovich who ordered it, but Mikhail Fedorovich. Then the question arises, where are the other items? Correspondence about the making of the scepter has been preserved. It was performed by Greek craftsmen who worked for the Turkish Sultan. They were not paid for the order immediately, although they bought precious stones to decorate the items at their own expense. But in the end, the money was paid to the craftsmen in full.
Turkish jewelry can be seen on the fancy dress costume of Emperor Nikolai Alexandrovich. Authentic 17th century Turkish buckles were used to decorate this costume.
Regalia of Tsars Ivan Alekseevich and Peter Alekseevich. Royal regalia
The double crowning took place in 1682. Ivan was 16 years old, Peter was 10. The eldest of the brothers, Ivan Alekseevich, was crowned with the Monomakh cap. The collection contains a HAT OF THE SECOND OUTFIT. It was made within one month, so the craftsmen simply did not have time to decorate it with fine, elegant filigree. 
Double throne
The throne was remade from the throne of Alexei Mikhailovich, made by Augsburg masters. The width of the steps and the width of the seat do not match. 
This is the only double throne in history. It is a complete throne complex with stands to ensure that no one gets close enough to the king. Only ambassadors could approach the king when they were allowed to kiss the sovereign's right hand (hand).
Diamond crowns
Diamond crowns also raise many questions. Why are they different? After all, on one crown there are only diamonds, and on the other - diamonds and chrysolites. Diamonds form a pattern in the shape of double-headed eagles. The weight of the crowns is approximately 2 kg. They were preserved thanks to the efforts of Tsar Peter Alekseevich.
Diamond hat of Tsar Ivan Alekseevich 
Diamond hat of Tsar Peter Alekseevich Altabass hat
Royal regalia of the 18th century
In the display case with royal regalia there is three objects from the 18th century.
1.Imperial crown of Empress Catherine I. Made in 1724 for the coronation of Catherine I. According to one version, the stones for it were collected from the nobility, including Menshikov. Therefore, after the coronation they were taken out of the frame and returned to their owners. This version has not yet been officially confirmed, so it is believed that the stones were removed for an unknown reason. The inscription on the crown is the name of the owner.
The two hemispheres symbolize the temporal and spiritual power of the monarch.
2. Crown of Empress Anna Ioanovna.
Crown of Empress Anna Ioannovna Fenkel attributed this crown to Gottlieb Wilhelm Dunkel. Fenkel reasoned simply: crowns are made by a court jeweler. At the court of Anna Ioanovna, Gottlieb Dunkel was the court jeweler, therefore, he made the crown. But no documents confirming this fact have survived. On the contrary, they recently found out that Anna Ioanovna’s crown was made by Moscow craftsmen: goldsmiths Samson Larionov, Kalina Afanasyev, Nikita Milyukov, silversmith Pyotr Semenov, goldsmith Luka Fedorov.
3.Shield. Anna Ioanovna wished to have a shield and sword at the coronation ceremony. The shield is Turkish, the sword is Polish, weighing about 1.5 kg.
State shield. Moscow, late 18th century, cufflinks – Türkiye, 17th century. But in the ceremony itself, military regalia were not used; they were simply carried on a pillow. Throughout the 18th century, women ruled in Russia and the sword went very poorly with the faucets.
There is also a Maltese crown in the collection; it appears at exhibitions from time to time; it is mainly kept in collections. It was used at the burial of the monarch.
Another scepter of Pavel Petrovich located in a display case with 18th-century jewelry, in the same place where the Potemkin dish is displayed. This scepter was intended to be presented to the Georgian king.
Georgia swore allegiance to the Russian Tsar 11 times, the last time in 1795. This scepter was ordered by Pavel Petrovich to be presented to the ruler of Georgia. But Paul died. Soon the Georgian king also died. The political situation changed and Georgia became part of the Russian Empire as a province.
The making of crowns does not end there. Crowns were made for empresses, and after the death of the empress they were dismantled and given as gifts according to the will. The only surviving crown belonged to Empress Maria Alexandrovna (kept in the Diamond Fund). This is the only empress who died before her husband.
The facts presented in the article were revealed by modern researchers. But all of the above is by no means the ultimate truth. Research continues, new data comes to light and the attribution may change after some time.
The article was written based on materials from the Kremlin lecture hall. Books also used:
I.A.Bobrovnitskaya “Regalia of Russian sovereigns”, M, 2004
Antiquities of the Russian State. Section I: Holy icons, crosses, temple utensils and vestments of clergy. - M., 1849. - 175 p.
Image of Our Lady of Joasaph
Under the name of the Mother of God of Joasaph, there is known in the Moscow Archangel Cathedral an osmyleous image of the Mother of God, painted in Greek style on a linden board with a notch. Judging by the design and color, it was written in Russia and the hardness of one and the fluidity of the other comes close to the style of Rublev’s school. The Mother of God's face is more round than oblong, without bonyness [subwhiteness], but with highlighting [shine, movements, shades]; his expression is more gloomy than touching; the nose is small, thin, the eyes are without teardrops, which have appeared on icons since the 16th century. The dolichnoe is of a swirly color, without iconography [inlaid with dissolved gold], while the dolichnoe is that of the Savior with golden gwents [features, folds on the clothes, whose folded flaps are called. cards]. On the forehead and on the breasts of the Mother of God there are three stars, signifying her virginity before Christmas, at Christmas and after Christmas.
The dyeing icons are remarkable for their art and richness. Its fields, or lights, are covered with a gold filigree frame with enamel; a golden crown on the Mother of God with towns, a hryvnia and three tsats hanging from it. Both are strewn with precious stones, mostly uncut. The Savior wears the same crown with small towns.
On the gold pellets along the margins of the image, the faces of the Holy Trinity, St. John the Baptist, Archangel Gabriel, St. Nicholas the Wonderworker, St. Basil of Paria, Theodore Stratilates, John Climacus, Venerable are painted in niello. Sergius and Anastasia the Romans.
Since, according to ancient custom in Rus', on St. icons often depicted Saints named after members of some family; then in the Saints on the icon of the Mother of God of Joasaph, the names of the family of its owner are probably immortalized; for here we find Saints John the Baptist, Theodore Stratilates and Anastasia the Roman, the same names as Tsar John Vasilyevich, Tsarina Anastasia Romanovna and Tsarevich Feodor. If the icon had been created by Tsar Fyodor Alekseevich, to whom this image was assigned by the inventory, then probably the Saints named after his parent and one of his spouses, Agathia or Martha, would have been depicted on the stones. More likely, this icon was a prayer service, a room one, and was given to him as a blessing from his parent, and entered the Cathedral, perhaps, after his death, as a tombstone, taken out.
The same applies to the name of the Joasaph icon: this is not found among the appearances from the icons of the Mother of God. And how the Patriarchs of Moscow, upon their accession to the Holy Throne, used to present the Tsar with St. icons as a blessing: either Joasaph I presented it to Tsar Mikhail Fedorovich, or Joasaph II presented it to Tsar Alexy Mikhailovich, from whom it could be inherited by his son and successor Fedor under the name of Joasaph. (P. 8-9)
Image of the Position of the Robe of the Lord
Similar in style to the Capponi calendar and the icons painted in the 17th century by the Stroganov Society of Zoographers, this image is also remarkable in its content.
The Persian Shah Abbas, as evidence of his friendly disposition towards Tsar Mikhail Fedorovich, sent to him, among other gifts, with the Georgian Urusambek, 1625, March 11, part of the Lord's robe in a golden ark decorated with precious stones. In his letter, the Shah announced that, after the conquest of Georgia, he found this shrine in the Metropolitan sacristy.
Although Patriarch Filaret accepted this sacred treasure with joy; but since it came from the unfaithful king, he consulted with his sovereign son about whether the word of the unfaithful could be accepted without true testimony. Then Filaret and the consecrated cathedral began to examine it. In the ark, as stated in the district charter, “a part of a robe, in length and across a span, was found in the ark, the linen, if reddish, looked like shoals, or would have changed its face in ancient years, “and the fabric was in linen.” The Patriarch of Jerusalem Theophan, who installed Philaret as Patriarch, was in Moscow at that time, and with him the Greek elders Nektarios and Ioannikios: the Moscow High Hierarch and addressed them with questions about the robe of the Lord. Nektary answered that he himself saw this shrine in Georgia in a church called Ileta and heard from the local clergy that it was once brought there by a soldier who was in Jerusalem at the crucifixion of I. Christ, and was marked by many miracles. The words of Nektarios were confirmed by Ioannikios, and other residents of the East confirmed the truth of the traditions of Palestinian and Greek Christians about the robe of the Lord. The judicious Filaret did not stop at human testimony, no matter how reliable it may seem; but he used a spiritual remedy. After his consultation with the Bishops and spiritual authorities, a seven-day fast and prayer service was established, and in order to find out the will of God and to discover the truth, it was commanded to place this shrine on the sick and sick. Many miracles justified the authenticity of the shrine and the faith of those who accepted it.
After that, the Robe of the Lord was solemnly laid in the large Assumption Cathedral and the annual holiday of the Laying of the Robe of the Lord was established, which is still celebrated on July 10. To store the shrine, the Patriarch built a majestic copper tent on September 30, 7133, which occupies a place near Philaret’s tomb in the southwestern corner of the Cathedral.
N and the image, apparently from a contemporary event, in the interior of this tent shows the Tsar with three Saints, standing in prayer before the throne, on which the honorable and multi-healing robe of the Lord is placed. The tent is surrounded by spiritual authorities, monks, boyars and people. In the foreground, Mikhail Fedorovich, then 20 years old, is depicted as braless, in all the royal utensils; on the other side is the Patriarch, probably of Jerusalem, and behind him is the Moscow Patriarch and Bishop in miters. The five-domed cathedral, where all this action takes place, is presented in cross-section.
There is noticeable symmetry in the arrangement or composition of faces, so that in the foreground the figures are brighter and more prominent; but, due to a lack of knowledge of perspective, his faces in the second and third plans are the same size as in the first. However, they do not have the uniformity that we find on many ancient icons; for the turns of heads and faces are varied. For Russian Archeology, it is important to see the prehistoric, or the costumes of the spiritual authorities, monks, laymen of different classes - men and women. In general and in parts, decency is strictly observed, so that if there is no grace in this image, then there is no ugliness.
The coloring, if coloring can be called coloring, is distinguished by hardness, brightness, bonyness in high places and fluidity, which rightfully surprises foreign artists in the Capponian Saints, where we meet the names of royal icon painters in Moscow in the 17th century.<…>
Unfortunately, we do not know the name of the zoographer who painted this image, which is memorable in historical, archaeological and artistic terms; but, by comparing it with the works of the Royal and Patriarchal icon painters, who formed the family of the Academy of Arts at the courts of the Sovereign and Saint, we can reliably conclude that it is the work of their brushes. The copy from this icon, large in size, is among the local images of the Assumption Cathedral of the Trinity-Sergei Lavra. (pp. 29-31)
A crown, scepter, orb are regalia, signs of royal, royal and imperial power, generally accepted in all states where such power exists. The regalia owes its origin mainly to the ancient world. Thus, the crown originates from a wreath, which in the ancient world was placed on the head of the winner in competitions. Then it turned into a sign of honor given to a military leader or official who distinguished himself in war, thus becoming a sign of service distinction (imperial crown). From it the crown (headdress) was formed, which became widespread in European countries as an attribute of power back in the early Middle Ages.
Monomakh's hat
In Russian literature, there has long been a version that among the Russian royal regalia belongs one of the oldest medieval crowns, allegedly sent as a gift to the Grand Duke of Kyiv Vladimir Monomakh by the Byzantine Emperor Constantine Monomakh. Along with the “Monomakh’s cap,” a scepter was allegedly sent from the Byzantine emperor.
Monomakh's hat
The origins of this attribute of power and dignity of European monarchs also lie in antiquity. The scepter was considered a necessary accessory of Zeus (Jupiter) and his wife Hera (Juno). As an indispensable sign of dignity, the scepter was used by ancient rulers and officials (except emperors), for example, Roman consuls. The scepter, as an obligatory regalia of power, was present at the coronation of sovereigns throughout Europe. In the sixteenth century. it is also mentioned in the wedding ceremony of Russian tsars
Stories from historians
There is a well-known story from the Englishman Horsey, an eyewitness to the coronation of Fyodor Ivanovich, the son of Ivan the Terrible: “On the king’s head there was a precious crown, and in his right hand there was a royal staff, made of one-horned bone, three feet and a half long, set with expensive stones, which was bought by the former king from the Augsburg merchants in 1581 for seven thousand pounds sterling." Other sources report that the crowning of Fyodor Ivanovich was in every way similar to the “seating on the table” of Ivan the Terrible, with the only difference being that the Metropolitan handed the scepter into the hands of the new tsar. However, the image of a scepter on the seals of this time was not accepted, as were the powers (otherwise - “apple”, “sovereign apple”, “autocratic apple”, “apple of the royal rank”, “power of the Russian kingdom”), although as an attribute of power it was known to Russian sovereigns from the 16th century. During the crowning of Boris Godunov on September 1, 1598, Patriarch Job presented the Tsar with the usual regalia and an orb. At the same time, he said: “As we hold this apple in our hands, so hold all the kingdoms given to you from God, keeping them from external enemies.”
“Big outfit” by Mikhail Fedorovich (hat, scepter, orb).
1627–1628
The crowning of the founder of the Romanov house, Tsar Mikhail Fedorovich, took place according to a clearly drawn up “scenario”, which did not change until the 18th century: along with the cross, barms and royal crown, the metropolitan (or patriarch) handed over the scepter to the king in his right hand, and the orb to his left . At the crowning of Mikhail Fedorovich, before handing over the regalia to the Metropolitan, the scepter was held by Prince Dmitry Timofeevich Trubetskoy, and the orb was held by Prince Dmitry Mikhailovich Pozharsky.
The tsar’s letter of honor to Bohdan Khmelnytsky dated March 27, 1654 was accompanied by a “new type” seal: a double-headed eagle with open wings (on the chest in the shield there is a horseman slaying a dragon), in the eagle’s right paw there is a scepter, in the left there is an orb, above the eagle’s heads – three crowns almost on the same line, the middle one with a cross. The shape of the crowns is the same, Western European. Under the eagle is a symbolic image of the reunification of Left Bank Ukraine with Russia. A seal with a similar design was used in the Little Russian Order.
Seal of Tsar Alexei Mikhailovich. 1667
Circle to the great state seal of Tsars John and Peter Alekseevich. Master Vasily Kononov. 1683 Silver
After the Truce of Andrusovo, which ended the Russian-Polish War of 1654–1667 and recognized the annexation of the lands of Left Bank Ukraine to Russia, a new large state seal was “created” in the Russian state. It is famous for the fact that its official description, included in the Complete Collection of Laws of the Russian Empire, is also the first resolution of Russian legislation on the form and meaning of the State Emblem. Already on June 4, 1667, in the article of the order given to the translator of the Ambassadorial Order, Vasily Boush, who went with royal letters to the Elector of Brandenburg and the Duke of Courland, it is emphasized: “If he is in the Kurlyan land Yakubus Prince or his close persons, also in the Brandenburg land Elector or his close people or their bailiffs will begin to say why now His Royal Majesty has three crowns with other images in the seal above the eagle? And Vasily tell them: the double-headed eagle is the coat of arms of the power of our great sovereign, His Royal Majesty, above which three crowns are depicted, signifying the three great: Kazan, Astrakhan, Siberian glorious kingdoms, submitting to the God-protected and highest of His Royal Majesty, our most merciful sovereign power. and command." What follows is a description that a few months later was announced not only “to the surrounding states,” but also to Russian subjects. On December 14, 1667, in the personal decree “On the royal title and on the state seal” we read “Description of the seal of the Russian state: “The double-headed eagle is the coat of arms of the Great Sovereign, Tsar and Grand Duke Alexei Mikhailovich of all Great and Lesser and White Russia, the Autocrat, His Tsar's Majesty the Russian Kingdom, on which three crowns are depicted, signifying the three great, Kazan, Astrakhan, Siberian, glorious Kingdoms, repenting of the God-preserved and highest power and command of His Royal Majesty, the most merciful Sovereign; on the right side of the eagle there are three cities, and according to the description in the title, Great and Little and White Russia, on the left side of the eagle three cities with their writings form the Eastern, Western and Northern; under the eagle is the sign of the father and grandfather (father and grandfather - N.S.); on the perseh (on the chest - N.S.) there is an image of the heir; in the paznok-teh (in the claws - N.S.) the scepter and the apple (orb - N.S.), represent the most gracious Sovereign of His Royal Majesty, the Autocrat and Possessor.”
Sovereign coat of arms
The most experienced codifier and jurist Mikhail Mikhailovich Speransky, a luminary of the Russian bureaucracy, based on the text of the decree, subsequently unambiguously qualified this image as a “sovereign coat of arms.” A similar seal with a corresponding new name was used by Tsars Fyodor Alekseevich, Ivan Alekseevich in a joint reign with Peter Alekseevich, and Peter Alekseevich himself - Peter I.
Great Imperial Crown
The crown is a masterpiece of world jewelry art.
The imperial crown was made by court jeweler Georg-Friedrich Eckart and diamond master Jeremiah Pozier for the coronation of Empress Catherine II the Great in 1762. The crown was created in record time - just two months.
The work on creating the crown was supervised by jeweler G.-F. Eckart. He created the sketch and frame. The selection of diamonds was carried out by I. Pozier.
The unique monument of jewelry art was restored in 1984. Chief artist V.G. Sitnikov, jewelers - V.V. Nikolaev, G.F. Aleksakhin.
Silver, diamonds, pearls, spinel rubies
State Historical and Cultural Museum-Reserve "Moscow Kremlin"
Moscow, Russia
Large Imperial crown created by the court jeweler for the coronation of Catherine II. Traditional in shape, the crown consists of two opening hemispheres, topped by an orb and a cross.
The materials used are silver, gold, diamonds, pearls, spinel.
Masters set 4,936 diamonds weighing 2,858 carats in silver. The sparkle of the diamond lace is emphasized by two rows of large matte pearls, 75 in total.
The height of the crown with the cross is 27.5 cm. The length of the lower circumference is 64 cm.
The weight of the crown is 1993.80 grams.
The crown is crowned with a rare bright red gemstone - a noble spinel weighing 398.72 carats.
The large imperial crown, made in 1762 for the coronation of Empress Catherine II the Great by the talented court jeweler Jeremiah Pozier, is striking in its perfection of execution and luxury. An excellent craftsman, he managed to create “a hymn to the diamond in the diamond age.” It is no coincidence that the Russian crown occupies an exceptional position among European regalia. Traditional in shape, of two openwork silver hemispheres, separated by a garland and fastened with a low crown, entirely decorated with diamonds and pearls, the crown creates the impression of solemn grandeur, surprising at the same time with its lightness and grace.&
The laurel branches are graceful and at the same time unusually calm - a symbol of power and glory, as if enveloping a diamond-shaped grid of hemispheres and fastened with a diamond in the center.&
The master emphasized the sparkle of the diamond lace with two rows of large matte, perfectly clean pearls. In the design of a garland of large white and pink diamonds, between the hemispheres, oak leaves and acorns are placed, which symbolizes the strength and strength of power.
The crown is crowned with a rare dark red gemstone - noble spinel (398.72 carats, acquired in the 17th century from Eastern merchants). It is also one of the seven historical stones of the Russian Diamond Fund.
Ekaterina was pleased with the work. She kept this almost two-kilogram crown on her head for the entire necessary time of the coronation ceremony - several hours.
After Catherine II, all emperors in Russia were crowned with a large imperial crown.
The Great Imperial Crown of the Russian Empire is the main symbol of the power of Russian monarchs. Imperial regalia from 1762 to 1917
Catherine II with coronation regalia. The Empress holds the Scepter in her right hand. Portrait of Alexei Antropov 1765
IMPERIAL SCEPTER
Gold, Orlov diamond, diamonds, silver, enamel
Length 59.5 cm
Early 1770s
The smoothly polished golden surface of the scepter is intercepted by eight diamond rims, and the handle is embossed with flutes (vertical grooves), enhancing the play of light and shadow. The scepter ends with a cast gold double-headed eagle, decorated with black enamel and diamonds. The pomp of this emblem of manarchic power was greatly enhanced by the Orlov diamond, which adorned the scepter in 1774. According to experts, this is the best diamond of all the famous ones. As you know, he was the “eye” of the golden statue of Brahma in the Indian temple. This is one of the seven historical stones of the Diamond Fund of the Russian Federation.
In ancient times, the scepter was considered an attribute of the power of Zeus (Jupiter). In Old Rus', an image of a scepter can be found on ancient coins of princes Vladimir and Yaroslav from the beginning of the 11th century. The scepter as a regalia is also mentioned in Russian chronicles of the mid-13th century, telling about the arrival of Western ambassadors. It is believed, however, that the scepter was introduced into use under Ivan the Severe at the end of his conquest of the Kazan Khanate. With all this, Ivan IV seemed to have inherited the position of the khan, who in Rus' was called the tsar. To embody the claims to this title, which both the Grand Duchy of Lithuania and the Crown of Poland refused to recognize for a long time and stubbornly, so to speak, there must be a specific scepter. Peter the Great also attached special symbolic meaning to the scepter. During the coronation of his own wife, Catherine I, he did not let go of it for a second. Peter I did not have the rest of the imperial regalia. The imperial scepter, lying in the Diamond Fund, is decorated with the world famous Orlov diamond, cut in the form of the highest “Indian rose”. According to one of the legends, as everyone knows, this stone belonged to Nadir Shah. At the end of its fall, the diamond ended up in Amsterdam, where it was bought for 400 thousand rubles by Count Grigory Orlov and presented by him to Empress Catherine II.
DIAMOND "ORLOV"
Empress Catherine II loved to pay with diamonds when playing cards. “What fun it is to play with diamonds! It’s like a thousand and one nights!” - she exclaimed in one of the letters. She gave her favorite Grigory Orlov a diamond camisole worth a million rubles. Orlov did not remain in debt and presented the queen with a diamond weighing 189.62 carats for the imperial scepter.&
A diamond of the rarest purity, with a bluish-green tint, was found in the 16th century in the mines of Golconda (India). The stone was originally a fragment from a larger crystal, believed to be the mysteriously disappeared Great Mogul Diamond, and weighed 450 carats (90 g) in its rough form. The first name of the diamond is “Derianur”, or “Sea of Light” (the second fragment of the “Mogul” was the no less famous “Kohinoor”, or “Mountain of Light”). According to ancient legend, both stones were the eyes of the temple statue of Brahma. Initially, the diamond was cut in the form of a “tall rose” (about 180 facets) weighing 300 carats. Shah Jehan was dissatisfied with the cut and ordered the stone to be recut.&
After this, the diamond acquired its modern shape, but its weight dropped to 200 carats (or 40 grams). The Persian Shah Nadir, having captured Delhi in 1739, decorated his throne with them. When the British “visited” Persia, they appropriated the “pebbles” in the same way. “Derianur” through unknown means ended up in the Amsterdam Bank in 1767, changing its name to “Amsterdam”, and its owner became either an Armenian or a Jew, Gregory Safras. In 1772, he sold the diamond to his relative, the Russian court jeweler Ivan Lazarev (hence the third name of the stone - “Lazarev”). Lazarev, in turn, in 1773 sold the stone for 400,000 rubles to Count Orlov, in whose hands the stone acquired its final name, with which it went down in history and was presented on Catherine II’s name day instead of a bouquet. She appreciated the gift and placed it on the crown of her golden scepter (below the pommel, which is a double-headed eagle, decorated with black enamel and diamonds), greatly enhancing its pomp.
IMPERIAL POWER
Gold, diamonds, sapphire (200 carats), diamond (46.92 carats), silver
Height with cross 24 cm
Ball circumference 48 cm
1762
In preparation for the coronation of Catherine II, only two weeks before the significant event they remembered the power, and then it turned out that the precious stones from the power of Empress Elizabeth Petrovna had long been removed, and the gold was “put into use.” In an unusually short time, the court jeweler G.-F. Eckart created a new state.
In the form of a small ball with an immaculately polished gold surface, on a low profiled base, the orb gave the impression of a luxurious product thanks to the belt studded with diamonds and a half-hoop with a cross at the top. These diamond garlands were taken directly from Catherine's dress, to which they were attached with silver loops, invisible to visitors.
In the early 70s of the 18th century, the state was decorated with two stones, which changed its overall appearance.
Between the openwork diamond cross and the half-hoop, a huge sapphire weighing 200 carats was placed surrounded by diamonds, and at the junction of the half-hoop with the belt was a large diamond weighing 46.92 carats, a completely clear stone with a bluish tint.
LARGE AGRAF BUCKLE
Diamonds silver
Length 25 cm, width from 8 to 11 cm
1750s. Master I. Pozier
Among the items created by the Swiss Jeremiah Pozier for the Russian court is a luxurious agraf buckle 25 centimeters long.
Heavy gold, ermine-lined coronation robes on days of celebration were fastened with huge ornate buckles, designed primarily for visual effect.
A subtle sense of decorativeness helped the jeweler create a buckle that was unusual in shape and fabulous in richness.
It is made in the form of a bow from three lush branches studded with diamonds. The intertwining branches are massive, but at the same time create the impression of lightness - due to the fact that small flowers on thin stems are scattered among the succulent leaves.
Careful thought out of every detail of the design of the product, free composition, combination of diamonds of different quality - all this characterizes the style of I. Pozier, the best of the best “diamond makers” of the 18th century.
The buckle was once worn by Elizaveta Petrovna, and then it in turn belonged to other Russian rulers, becoming a clasp on the coronation ermine robe.
SMALL IMPERIAL CROWN
Diamonds, silver
Height with cross 13 cm
1801 Masters Y. Duval and J. Duval
Traditional in shape, the small imperial crown was made by the famous court jewelers the Duval brothers in 1801 for the coronation of Empress Elizabeth Alekseevna.
Strictness and a sense of proportion distinguish the works of these masters. Their style is pure, logical, reasonable, and their execution is such that it makes you forget about technical techniques and see only the beauty of the material with which they work.
Everything in the crown is surprisingly proportional and balanced. The shine of diamond lace in a silver frame conveys a feeling of solemnity, significance, and grandeur, despite the miniature size of the product.
Among the excellent stones on the crown, a number of large diamonds on the crown, as if hanging in the air, stand out for their clarity and size. The beauty of the stones and refined jewelry craftsmanship undoubtedly bring the small crown closer to the large imperial crown of Catherine II.
Coronation regalia of Russian emperors. In the foreground - Imperial Power 1856
Large imperial crown among the regalia of Russian emperors.
Catherine II (1762)
Virgilius Eriksen. Empress Catherine II in the Great Imperial Crown
Paul I (1797)
Borovikovsky V.L.Emperor Paul I in the Great Imperial Crown
The last time the Great Imperial Crown was used in state events was in 1906 - at the opening ceremony of the first State Duma with the participation of the last Emperor Nicholas II. Currently, the imperial regalia is in the Diamond Fund of the Russian Federation.
Great Imperial Crown
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