Scepter- a wand, generously adorned with gems and crowned with a symbolic (usually heraldic: fleur-de-lis, eagle, etc.) figure, made of precious materials - silver, gold or ivory; along with the crown, one of the most ancient insignia of autocratic power. In Russian history, the scepter was the successor of the royal staff - an everyday, not a ceremonial, symbol of the power of tsars and grand dukes who once accepted these regalia from the Crimean Tatars as a sign of their vassal oath. The scepter “made of three feet and a half long one-horned bone, lined with expensive stones” (Sir Jerome Horsey, Notes on Muscovy of the 16th century) was included in the royal regalia in 1584 at the wedding of Fyodor Ioanovich. This insignia of power, given in the altar of the temple by the Patriarch of All Russia into the hands of the Anointed One of God, was then included in the royal title: "God in the Trinity, the scepter holder of the Russian kingdom glorified by grace."
The scepter was included in the state emblem of Russia a century later. It took its now traditional place in the right paw of the two-headed eagle on the seal of Tsar Alexei Mikhailovich in 1667.
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 included in the attributes of power of the Roman, Byzantine, Germanic emperors. In the Christian era, the state was crowned with a cross.
The state was also the insignia of the emperors of the Holy Roman Empire and the kings of England, starting with Edward the Confessor. Sometimes in the visual arts with power, Christ was depicted 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 heavenly ball. If the scepter served as a symbol of the masculine principle, then the orb - the feminine.
Russia borrowed this emblem from Poland. It was first used as a symbol of royal power at the wedding ceremony of False Dmitry I to the kingdom. In Russia, it was originally called the sovereign apple. Since the reign of the Russian Emperor Paul I, it has been a blue yacht ball, sprinkled with diamonds and crowned with a cross.
Power is a sphere of precious metal crowned with a cross, the surface of which is adorned with gems and sacred symbols. Powers or sovereign apples (as they were called in Russia), became permanent attributes of the power of a number of Western European monarchs long before Boris Godunov's wedding (1698), but their introduction into the everyday life of the 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 state is the mirror of the archangels Michael and Gabriel - as a rule, gold discs with the initials of Jesus Christ or the 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 chrismation is partly "delegated" to the Orthodox tsar. He is obliged to lead his people to the last battle with the Antichrist and defeat his army.
Ancient state regalia are among the most significant state symbols. These include crowns, crowns, scepters, powers, sword, barmas, shield, thrones. However, the sovereign appeared in full vestments only several 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 lifetime of the monarch. Currently, the original regalia of the Moscow, and later the Russian state are kept in the collection of the State Armory Chamber of the Moscow Kremlin. In this article we will tell you about the royal regalia in chronological order, starting with the most ancient ones.
Royal regalia in the Armory collection
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, the princely power was primarily symbolized by weapons, in ancient times - by a shield and a sword. However, the state shield and the state sword in the collection of the Armory date back to the 16th-17th centuries.
About the shield - below.
The oldest regalia presented in our treasury is the Monomakh hat. It is described in detail in the article. Let's briefly recap the main facts.
Royal regalia. Monomakh's hat
There is an old "Legend about the princes of Vladimir", according to which Vladimir Monomakh was married to the Great Kiev reign with the Cap of Monomakh. The legend says that the crown was presented to him by the Byzantine emperor Constantine Monomakh, who was the grandfather of the Kiev 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, it can be seen that Prince Vladimir is depicted in the cap of Monomakh.
Monomakh throne. Fragment The story that the Byzantine emperor bestowed this hat on an old ancestor of Grozny was actively disseminated during the time of Tsar Ivan. However, this is nothing more than a beautiful legend invented to explain (legitimize) the new status title of the Sovereign of All Russia. Back in the 19th century, historians refuted the Byzantine version of the origin of the Cap of Monomakh.
To this day, there are three versions about the place of manufacture of this regalia. According to the first of them, Monomakh's hat could have been made in Byzantium, but not under the Emperor Constantine, but much later, during the reign of the Palaeologus in the XIV-XV centuries. This version is supported by the fact that the filigree on the product is of very high quality, typical of Byzantine craftsmen.
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 may be Samarkand or Bukhara.
The third version says that this is the work of Greek masters who worked in Moscow.
It is possible that the cap of Monomakh was presented to Ivan Kalita by the Tatar Khan Uzbek. Such a gift was an offering of the khan to his vassal, therefore, at the Russian court, this version was hushed up and a crown was given out for Byzantine work.
They put the Monomakh hat on not on the head, but on a special hat made of brocade.
Kingdom wedding 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. On such crowns, Christ was almost always depicted in a crown. Thus, the idea of the divine origin of power was reflected. The sovereign is the anointed of God 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 refers to the end of the 15th century. Sovereign Ivan III married his grandson, Tsarevich Dmitry Ivanovich, to the Moscow reign with a golden crown, i.e. With a Monomakh hat. It is also known that he was entrusted with barmas - golden chains. Historians have not yet explained the origin of the barmas.
In the ceremony of the wedding to the kingdom in Russia, there was also the custom to shower the prince with coins. Although it is known that in Byzantium and in the West, coins were thrown into the crowd. Most likely, the Russian ambassadors, who were at the solemn wedding of the emperor in Constantinople, did not fully understand this rite, or convey it inaccurately. Therefore, in our country, the prince himself was showered with coins. After that, those present at the ceremony were allowed to pick them up.
The last wedding to the great reign took place in 1534. Then they married the juvenile Grand Duke John IV Vasilievich. In 1547, Ivan IV was married to the kingdom, the image of this ceremony has been preserved in the Observatory of the annals.
In addition to the sword, shield, cap of Monomakh and the barm, one of the most important state regalia is the cross. In the collection of the Armory Chamber, a sliver of the genuine 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 most ancient crown in the collection of regalia of the Armory is KAZAN HAT... It did not come down to us in its original form, at the beginning of the 17th century it was redone. 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 true 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 black and not enamel. To conduct a chemical analysis of the material, you need to scrape off a small part of the coating. This is not currently possible. Considering the unknown technique of making this background, the Kazan cap is most likely not of Moscow origin.
For foreigners, a crown of a similar shape evoked an association with the papal tiara. They believed that Ivan the Terrible was encroaching on world domination. In Russia, during the time of Ivan the Terrible, a legend appeared that Rurik was a descendant of the Roman emperor Augustus.
When Ivan the Terrible was married to the kingdom in 1547, the first Russian tsar was not smeared with peace. The first sovereign who was really "anointed" to the kingdom was his son, Tsar Fyodor Ioannovich.
Bone throne. Royal regalia
The "Bone Throne", although it is called the throne of Ivan the Terrible, may not have anything to do with this tsar.
This throne contains plates that date back to the 16th century. In addition to ivory, it contains walrus bone, mammoth bone and even beef. Russian craftsmen at different times repaired the throne and made some of the lost elements from beef bone.
Genuine ivory is in the first tier of the throne, where scenes of King David's anointing to the kingdom are depicted. Below are images of pagan, antique scenes taken from Greek mythology. That is why historians conclude that the throne was assembled in parts from elements of 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 on the Austrian empire. There is a version that instead of an eagle, there was an image of Juno on the back of the throne. 
Perhaps the throne belonged to Ivan the Terrible, but he 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 Palaeologus at the end of the 15th century. Interestingly, Ivan the Terrible was twice depicted on this throne. 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 at the same time - what did this throne do on the female half of the palace, where the tragedy took place, which served as a plot for Repin's painting. (Both images are exhibited in the State Tretyakov Gallery).
Regalia of Tsar Fyodor Ioannovich. Royal regalia
Barmas
The barmas, which are also part of the state regalia, are now exhibited in a showcase with a secular dress, along with the paid 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. 
Every time during the ceremony of the wedding to the kingdom, the barmas were reworked. This thing was individual and did not suit another person, because the host of patron saints of one person did not match the patron saints of another and the new king could not use the barmas of his predecessor. On the barmas of Tsar Fyodor, silk and precious threads are embroidered - Deesis - the prayer stand of the Mother of God and John the Forerunner before the Heavenly King and the Earthly Judge.
SCEPTER first appeared in the wedding ceremony to the kingdom of Tsar Fyodor Ioannovich in 1584.
Regalia of Tsar Boris Godunov
The state was first used at the wedding of Tsar Boris Godunov in 1598.
Throne of Tsar Boris Godunov
The collection of the GOP also exhibits the THRON OF TSAR BORIS GODUNOV of Iranian work. This is a 1604 gift 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 for them. The keepers of the collection still do not know whether Boris Godunov received a complete set or only one throne. They could not use this chair as a throne itself, because it has no back. He could serve as a portable throne. The original upholstery has not survived; in its present form, the throne is upholstered with French fabric of the 18th century.
Regalia of Tsar Mikhail Fedorovich. Royal regalia
WEDDING IN THE KINGDOM OF KING MIKHAIL FYODOROVICH. The miniature was published in the book by IA Bobrovnitskaya "Regalia of the Russian sovereigns" Power
The empire 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 Russia by the Cesar embassy.
Tsar Mikhail Fedorovich The diplomats secretly handed over the tsar's order, for the presentation of state regalia in international diplomacy was a sign of recognition of the vassal position of the sovereign, to whom these regalia were handed over. (Remember that so far not a single documentary confirmation has been found that Uzbek handed the state regalia, the cap of Monomakh, to Ivan Kalita. If such a fact took place, then it was carefully "forgotten").
The order for the production of state regalia, made to the Bohemian king Rudolph II, was, although honorable, was presented at an informal meeting. There is a version that Fyodor Ioannovich ordered the regalia, but he died before he could use them. Boris Godunov also did not have time to put them on, as soon he also ordered to live long.
Chain
The chain belongs to the regalia of Mikhail Fedorovich when he was crowned king in 1613.
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 links of the chain depict the royal title. Although it is believed that the chain belonged to Mikhail Fedorovich, historians have not come to a consensus as to when this title engraved on the chain belongs - either to 1613, or to the end of the reign, to the 1640s.
The other chains in the collection are most likely of Western European work. Crosses were attached to them.
Chain from the Armory collection. Western Europe, XVI century Barmas of Tsar Mikhail Fedorovich Romanov are in the museum funds.
Crown of Tsar Mikhail Fedorovich
The crown of Tsar Mikhail was made in the tsarist Kremlin workshops. The master who made it was from Germany, although in the documents on receipt of royalties he appears under a Russian name. For the Russian Middle Ages, it is common practice to change foreign names and replace them with Russians. The master received an order to restore the hat, lost in the Time of Troubles, and to 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 removed from the Kazan cap of Ivan the Terrible.
An interesting story happened to Nicholas I in Warsaw, when he was crowned in the capital of Poland. The sapphire was handed over 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 the workshops of Rudolph - a cap, a scepter and an orb. The cap disappeared during the Troubles, allegedly became a trophy of the Polish conquerors. And all that he left behind 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, with a total weight of about 13 kg of gold. 
Among the stones, red stones predominate - tourmalines and rubies, as well as blue turquoise. Other gems are lilac amethysts, large yellowish-green peridots and emeralds. The two largest stones are diamond topaz. Iran badly needed good relations with Russia. This need can be judged by the value 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 summoned to the kingdom, a staff was also brought to Kostroma to young Romanov as a regalia . The staff of Mikhail Fedorvich is decorated with sapphires and griffin faces.
The staffs of clergy and lay people are fairly easy to distinguish. On the clergy's staff, the ends of the handle are directed downward, but on the secular ones they are not.
Regalia of Tsar Alexei Mikhailovich. Royal regalia
Diamond throne
The diamond throne has been preserved without alterations. A Latin inscription on the back celebrates the wisdom of the king. 
Eastern elephants are depicted instead of European lions. 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 indicates that the throne was ordered in Iran. Then, did the Iranian shah know that his masters worked "to the left" for the Russian tsar? Apparently he knew. Just as Rudolph knew that his masters 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 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 the petition was sent to the back burner. The merchants received the right to duty-free trade only after 7 years, because the execution of their request was contrary to the interests of the state.
Turkish jewelry in the Armory collection. Royal regalia
The collection contains the orb made in the Turkish style. Power is a symbol of the state. The state flourishes during the reign of the sovereign.
Orb and scepter of Tsar Alexei Mikhailovich The chronology of the Turkish scepter has not yet been clarified. It was executed 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 survived. It was performed by Greek craftsmen who worked for the Turkish sultan. They were not immediately paid for their order, although they bought precious stones to decorate objects at their own expense. But in the end, the money was paid to the masters in full.
Turkish jewelry can be seen on the fancy dress of Emperor Nikolai Alexandrovich. Genuine 17th century Turkish buckles were used to decorate this costume.
Regalia of Tsars Ivan Alekseevich and Peter Alekseevich. Royal regalia
A double wedding to the kingdom took place in 1682. Ivan was 16 years old, Peter - 10. The eldest of the brothers, Ivan Alekseevich, was crowned with a Monomakh hat. The collection contains a SECOND CLOTH CAP. It was made within one month, so the craftsmen simply did not have time to decorate it with a fine, elegant filigree. 
Double throne
The throne was converted from the throne of Alexei Mikhailovich by the 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 so that no one gets close enough to the king. Only ambassadors could approach the tsar when they were allowed to kiss the sovereign's right hand (hand).
Diamond crowns
Diamond crowns also raise many questions. Why are they different? Indeed, on one crown there are only diamonds, and on the other - diamonds and chrysolites. The diamonds form a pattern in the shape of two-headed eagles. The weight of the crowns is about 2 kg. They survived thanks to the efforts of Tsar Peter Alekseevich.
Diamond hat of Tsar Ivan Alekseevich 
Diamond hat of Tsar Peter Alekseevich Altabas hat
Royal regalia of the 18th century
In the showcase with royal regalia there is three items from the 18th century.
1.Imperial crown of Empress Catherine I. Made in 1724 for the coronation of Catherine I. According to one of the versions, stones for her 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 secular and spiritual power of the monarch.
2. Crown of Empress Anna Ioanovna.
Crown of Empress Anna Ioannovna Fenckel attributed this crown to Gottlieb Wilhelm Dunkel. Fenkel reasoned simply - the court jeweler makes the crown. 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, it was recently found out that the crown of Anna Ioanovna was made by Moscow masters: goldsmiths Samson Larionov, Kalina Afanasyev, Nikita Milyukov, silversmith Pyotr Semyonov, goldsmith Luka Fedorov.
3.Shield... Anna Ioanovna in the coronation ceremony wished to have a shield and a sword. The shield is Turkish, the sword is Polish, weighing about 1.5 kg.
State shield. Moscow, late 18th century, zapony - Turkey, 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 was very poorly combined with figs.
There is also a Maltese crown in the collection, it appears from time to time at exhibitions, mainly it is kept in the funds. It was used in the burial of the monarch.
One more scepter of Pavel Petrovich is located in a display case with jewelry of the 18th century, in the same place where the Potemkin dish is presented. This scepter was intended to be presented to the Georgian king.
Georgia took the oath of 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.
Making crowns doesn't end there. Crowns were made for empresses, and after the death of the empress, they were taken apart and presented by 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 floats out into the light of God, and attribution may change over time.
The article was written based on the materials of the Kremlin lecture hall. Also used books:
IA Bobrovnitskaya “Regalia of Russian sovereigns”, Moscow, 2004
Antiquities of the Russian State. Section I.: Holy icons, crosses, temple utensils and vestments of the spiritual dignity. - M., 1849 .-- 175 p.
The image of the Mother of God of Joasaph
Under the name of the Mother of God of Joasaph is known in the Moscow Archangel Cathedral for the osmilist image of the Mother of God, written in Greek style [style] on a linden board with a notch. Judging by the drawing and color, it was painted in Russia and the hardness of one and the fusion of the other closely matches the style of Rublev's school. The face of the Mother of God is rounder than oblong, without boneiness [sub-whitespace], but with an out-of-dateness [shine, motion, shades]; his expression is darker than sweet; the nose is small, thin, eyes without tears, which appear on icons since the 16th century. The preparatory part is of a wicked color, without the iconography [overflowing with dissolved gold], while the preparatory part of the Savior with golden gwents [features, folds on clothes, of which the name of the thrown back hem. card]. The Mother of God has three stars on her forehead and on her Persians, marking her virginity before Christmas, at Christmas and after Christmas.
In dyeing, icons are remarkable for their art and wealth. Its fields, or lights, are covered with a gold frame with enamel; a golden crown on the Mother of God with small towns, a hryvnia and three tsats hung to it. Both are studded with precious stones, for the most part, uncut. The Savior has the same crown with the towns.
The faces of the Holy Trinity, St. John the Baptist, Archangel Gabriel, Nicholas the Wonderworker, St. Basil of Pari, Theodore Stratilates, John Climacus, Reverend. Sergius and Anastasia Romans.
Since, according to the ancient custom in Russia, in St. the icons often depicted Saints with the same names as members of a surname; then in the Saints on the icon of the Mother of God of Joasaph, probably, the names of the family of its ruler are immortalized; for here we find saints John the Baptist, Theodore Stratilates and Anastasia the Roman, co-named with Tsar John Vasilyevich, Tsarina Anastasia Romanovna and Tsarevich Fyodor. If the icon had been arranged by Tsar Fyodor Alekseevich, to whom this image is assigned by the inventory, then probably the saints would have been depicted on the fractional units, the same names for his parent and one of his spouses, Agathia or Martha. Most likely, this icon was a prayer, room, and passed to him as a blessing from a parent, and entered the Cathedral, perhaps, after his death, as a tombstone, portable.
As for the name of the icon of Joasaph: this does not occur among the phenomena from the icons of the Mother of God. And as the Patriarchs of Moscow, upon their accession to the Holy See, used to offer the Tsar St. icons as a blessing: either Joasaph I presented it to Tsar Mikhail Fedorovich, or Joasaph II to Tsar Alexy Mikhailovich, from whom she could inherit his son and successor Fedor under the name Joasaph. (S. 8-9)
Image of the Position of the Lord's Robe
Similar in style to the Capponian saints and to the icons painted in the 17th century by the society of Stroganov zoographers, this image is also remarkable in its content.
The Persian Shah-Abbas, in confirmation of his friendly disposition to Tsar Mikhail Fedorovich, sent to him, among other gifts, with the Georgian Urusambek, 1625, March 11, a 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 had found this shrine in the Metropolitan Sacristy.
Even though Patriarch Filaret accepted this sacred treasure with joy; but as it came from the unfaithful king, then he consulted with his sovereign son about whether it was possible to accept the word of the unfaithful without a true testimony. Then Filaret with the consecrated cathedral proceeded to the examination. In the ark was found, as it says in the district charter, “a part of the robe, in length and across a span, linen, if it were reddish, looked like a shallow, or will in the old years have changed the face,“ but the woven is in flax ”. The Jerusalem Patriarch Theophanes then stayed in Moscow, who appointed Philaret to the Patriarch, and with him the Greek elders Nektarios and Ioanniki: the Moscow Primate and asked them questions about the Lord's robe. Nektarios replied that he himself saw this shrine in Georgia in a church called Ileta and from the local clergy heard that it had once been brought there by a soldier who was in Jerusalem at the time of the crucifixion of I. Christ, and was marked by many miracles. The words of Nectarius were confirmed by Ioannicius, and other inhabitants of the East confirmed the truth of the legend of the Palestinian and Greek Christians about the robe of the Lord. The judicious Filaret did not stop at human evidence, no matter how reliable it may seem; but used a spiritual remedy. After his consultation with the bishops and the spiritual authorities, a seven-day fast and prayer was established, and for the recognition of the will of God and for the discovery of the truth, it was commanded to entrust this shrine to the sick and the 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 Feast of the Laying of the Robe of the Lord was established, which is still celebrated on July 10. For the storage of the shrine, the Patriarch was erected by the Patriarch of 7133 on September 30, a majestic copper tent, which occupies a place near the Filaret tomb in the southwestern corner of the Cathedral.
N and in the image, apparently, of a modern event, in the interior of this tent, the Tsar with three Saints is seen, standing in prayer to the throne, on which the honest and multifunctional robe of the Lord is laid. The tent is surrounded by spiritual authorities, monks, boyars and people. In the foreground, Mikhail Fyodorovich, who was then 20 years old, is depicted as dull, in all the royal utensils; on the other side is the Patriarch, probably of Jerusalem, and behind him is the Moscow Patriarch and the Bishop in mitres. The five-domed cathedral, where all this action takes place, is presented in a section.
Symmetry is noticeable in the arrangement or composition of faces, so that in the foreground the figures are brighter and more prominent; but, due to lack of knowledge in perspective, his faces on the second and third planes are the same size as on the first. However, they lack the uniformity that we find in many ancient icons; for the turns of the heads and faces are varied. For Russian archeology, it is important to do the preparatory work, or the costumes of the spiritual authorities, monks, laymen of different classes - muschins and women. In general and in parts, decency is strictly observed, so if there is no grace in this image, then there is no ugliness either.
The coloration, if only coloring can be called color, is distinguished by its hardness, brightness, boneiness in high places and fusibility, which is justly surprising to foreign artists in the Capponian Saints, where we meet the names of tsarist icon painters in Moscow of the 17th century.<…>
Unfortunately, we do not know the name of the zoographer who painted this image, which is memorable from a historical, archaeological and artistic point of view; but, by comparing it with the works of the Tsar's and Patriarchal icon painters, who formed the family of the Academy of Arts at the courts of the Sovereign and Prelate, we can confidently conclude that it is the work of their brush. A copy of this large icon is among the local images of the Assumption Cathedral of the Trinity-Sergeev Lavra. (S. 29-31)
The crown, scepter, orb are regalia, signs of royal, royal and imperial power, generally accepted in all states where such power exists. The origin of their regalia is mainly due to the ancient world. So, 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 those who distinguished themselves in the war - a military leader or an official, thus becoming a badge of service distinction (imperial crown). From it, the crown (headdress) was formed, which became widespread in European countries as an attribute of power even in the early Middle Ages.
Monomakh's hat
In Russian literature, there has long been a version that one of the oldest medieval crowns belongs to the number of Russian royal regalia, allegedly sent as a gift to the Grand Duke of Kiev Vladimir Monomakh by the Byzantine emperor Konstantin Monomakh. Along with the "cap of Monomakh", 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 for emperors), for example, the Roman consuls. The scepter, as an obligatory regalia of power, was present at the coronation of sovereigns throughout Europe. In the sixteenth century. he is also mentioned in the rite of the wedding of Russian tsars
Historians' stories
The story of the Englishman Horsey, an eyewitness of the coronation of Fyodor Ivanovich, son of Ivan the Terrible, is known: merchants in 1581 for seven thousand pounds sterling. " Other sources report that the wedding to the throne of Fyodor Ivanovich was in everything like “putting Ivan the Terrible on the table”, with the only difference that the metropolitan handed the scepter into the hands of the new tsar. However, the image of the scepter on the seals of this time was not accepted, as well as the powers (otherwise - "apple", "apple of the sovereign", "apple of the autocratic", "apple of the tsarist rank", "the state of the Russian kingdom"), although as an attribute of power it was known to the Russian sovereigns from the 16th century. During the wedding to the throne of Boris Godunov on September 1, 1598, Patriarch Job gave the Tsar, along with the usual regalia, a state. At the same time, he said: "As if we will take this apple in our hands, hold on to it, so keep all the kingdoms given to you from God, keeping them from external enemies."
"Big outfit" by Mikhail Fedorovich (hat, scepter, orb).
1627-1628
The wedding to the kingdom of the ancestor of the house of Romanov, Tsar Mikhail Fedorovich, took place according to a clearly drawn up "scenario" that did not change until the 18th century: together with the cross, barmas and the royal crown, the metropolitan (or patriarch) passed the scepter to the king in his right hand, and the empire in his left ... At the wedding of Mikhail Fedorovich to the throne, before handing over the regalia to the metropolitan, the scepter was held by Prince Dmitry Timofeevich Trubetskoy, and the empire was held by Prince Dmitry Mikhailovich Pozharsky.
A seal of a "new type" was attached to the diploma of tsar Bohdan Khmelnitsky dated March 27, 1654: a two-headed eagle with open wings (on the chest in a shield - a rider slaying a dragon), in the eagle's right paw - a scepter, in the left - a power, above the eagle's heads - three crowns practically 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 the Left-Bank Ukraine with Russia. A seal with a similar pattern was used in the Little Russian Prikaz.
The seal of Tsar Alexei Mikhailovich. 1667 g.
Circle to the big state seal of Tsars John and Peter Alekseevich. Master Vasily Kononov. 1683 Silver
After the Andrusov armistice, which ended the Russian-Polish war of 1654-1667 and recognized the annexation of the lands of the Left-Bank Ukraine to Russia, a new large state seal was “instituted” 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 decree 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 Bousch, who was sent with royal letters to the Elector of Brandenburg and the Duke of Courland, it is emphasized: or his neighbors or their bailiffs will learn to say, why are there now three koruns with other images of his royal majesty in the seal over the eagle? And tell Vasily to them: the double-headed eagle is the coat of arms of the state of our great sovereign, his royal majesty, above which three koruns are depicted, signifying the three great: Kazan, Astrakhan, Siberian glorious kingdoms, obeying God and his highest royal majesty, our gracious sovereign and command. " Next comes the description, which a few months later was announced not only "to the neighboring states", but also to Russian subjects. December 14, 1667 in the personal decree "On the title of the royal and on the state seal" we read "Description of the seal of the Russian state:" The double-headed eagle is the emblem of the sovereign Great Sovereign, Tsar and Grand Duke Alexei Mikhailovich of All Great and Small and White Russia, the Autocrat, His Tsar Majesty The Russian Kingdom, in which three koruns are depicted, signifying the three greats, the Kazan, Astrakhan, Siberian, glorious Kingdoms, repenting by God and His Highest Royal Majesty, the most merciful Sovereign power and command; on the right side of the eagle there are three grads, and according to the description in the title, Veliky and Malaya and Belaya of Russia, on the left side of the eagle, three grads in their writings form the Eastern and Western and Northern; under the eagle the sign of the stepfather and grandfather (father and grandfather - N. S.); on the front (on the chest - N. S.) the image of the heir; in the groove-those (in the claws - N. S.) a scepter and an apple (orb - N. S.), themselves are the most merciful Sovereign of His Imperial Majesty the Autocrat and Possessor. "
Sovereign coat of arms
The most experienced codifier and jurist Mikhail Mikhailovich Speransky - the luminary of the Russian bureaucracy, proceeding from the text of the decree, subsequently unequivocally qualified this image as a "sovereign coat of arms." A similar seal with the corresponding new name was used by the tsars Fedor Alekseevich, Ivan Alekseevich in joint reign with Peter Alekseevich and Peter Alekseevich himself - Peter I.
Large imperial crown
The crown is a masterpiece of world jewelry art.
The imperial crown was made by the court jeweler Georg Friedrich Eckart and the diamond master Jeremiah Pozier for the coronation of Empress Catherine II the Great in 1762. The crown was created in record time - in just two months.
The work on the creation of the crown was supervised by the jeweler G.-F. Eckart. He created the sketch and wireframe. I. Pozier was involved in the selection of diamonds.
The unique piece of jewelry 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, surmounted by an orb and a cross.
Used materials - silver, gold, diamonds, pearls, spinel.
The craftsmen set 4936 diamonds weighing 2858 carats in silver. The sparkling diamond lace is accentuated 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 gemstone of bright red color - a noble spinel of 398.72 carats.
The great imperial crown, made in 1762 for the coronation of Empress Catherine II the Great by the talented court jeweler Jeremiah Pozier, amazes with the 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 the European regalia. Traditional in form, consisting of two openwork silver hemispheres, separated by a garland and fastened with a low crown, entirely adorned with diamonds and pearls, the crown creates an impression of solemn grandeur, surprising at the same time with its lightness and grace. &
Graceful and at the same time unusually calm, laurel branches are a symbol of power and glory, as if covering a diamond-shaped diamond grid of hemispheres and fastened with a diamond in the center. &
The master emphasized the sparkle of diamond lace with two rows of large matte perfectly clean pearls. In the drawing of a garland of large white and pink diamonds, oak leaves and acorns are placed between the hemispheres, which symbolizes the strength and strength of power.
The crown is crowned with a rare gemstone of dark red color - noble spinel (398.72 carats, acquired in the 17th century from oriental merchants). It is also one of the seven historical stones of the Diamond Fund of Russia.
Ekaterina was pleased with the work. She kept this almost two-kilogram crown on her head for all the 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 the Russian monarchs. Imperial regalia from 1762 to 1917
Catherine II with coronation regalia. The Empress holds a Scepter in her right hand. Portrait of Alexei Antropov 1765
SCEPTER IMPERIAL
Gold, diamond "Orlov", diamonds, silver, enamel
Length 59.5 cm
Early 1770s
The smoothly polished gold surface of the scepter is intercepted by eight diamond bezels, and the handle is embossed with flutes (vertical grooves) that enhance the play of light and shadow. The scepter ends with a cast gold double-headed eagle, decorated with black enamel and diamonds. The splendor of this emblem of Manarchist power was greatly enhanced by the Orlov diamond that adorned the scepter in 1774. According to experts, this is the best diamond of all the famous. 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 Russia, the image of the scepter can be found on the ancient coins of the princes Vladimir and Yaroslav of the beginning of the 11th century. The scepter as a regalia is also mentioned in the Russian chronicles of the middle of the 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 seems to have inherited the position of the khan, who in Russia was called the tsar. To materialize the claims to this title, which for a long time and stubbornly refused to recognize, so to speak, both in the Grand Duchy of Lithuania and in the Crown of Poland, there must be a scepter. Peter the Great also attached particular symbolic significance to the scepter. During the coronation of his own wife, Catherine I, he never let go of him for a second. Peter I did not have the rest of the imperial regalia. The imperial scepter, which is in the Diamond Fund, is adorned with the world famous Orlov diamond cut in the form of the highest Indian rose. According to, as everyone knows, one of the legends, this stone belonged to Nadir Shah. At the end of its fall, the diamond got to Amsterdam, where it was bought for 400 thousand rubles by Count Grigory Orlov and presented to them by Empress Catherine II.
DIAMOND "ORLOV"
Empress Catherine II loved to pay with diamonds when playing cards. “How fun it is to play diamonds! It looks like a thousand and one nights! " - she exclaimed in one of the letters. She presented her favorite Grigory Orlov with a diamond jacket 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. &
The rarest in purity, with a bluish-green tint, the diamond was found in the 16th century in the mines of Golconda (India). Initially, the stone was a fragment from a larger crystal, presumably the mysteriously disappeared Great Mogul diamond, and in its raw form was 450 carats (90 g). The first name of the diamond is “Derianur”, or “Sea of Light” (the second fragment of “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. First, 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 cut. &
After that, the diamond took on its modern shape, but its weight dropped to 200 carats (or 40 grams). The Persian Shah Nadir, having seized Delhi in 1739, decorated his throne with them. When the British "visited" Persia, they appropriated the "stones" in the same way. "Derianur" by unknown means got to the Amsterdam bank in 1767, changing its name to "Amsterdam", and the owner was either an Armenian or a Jew Grigory 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 the name day to Catherine II instead of a bouquet. She appreciated the gift and placed it on the crown of her golden scepter (below the pommel, which is a two-headed eagle, decorated with black enamel and diamonds), multiplying its magnificence.
POWER IMPERIAL
Gold, diamonds, sapphire (200 carats), diamond (46.92 carats), silver
Height with cross 24 cm
Ball circumference 48 cm
1762 year
When preparing for the coronation of Catherine II, only two weeks before the significant event, they remembered the state, and then it turned out that the precious stones from the empress Elizabeth Petrovna's state had long been removed, and the gold was "put into action." In an unusually short time, the court jeweler G.-F. The new power was executed by Eckart.
In the form of a small ball with an impeccably polished gold surface, on a low profiled base, the orb gave the impression of a luxurious product thanks to a diamond-studded belt and a half-hoop with a cross at the top. These diamond garlands are 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 general 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 - a large diamond weighing 46.92 carats, a completely pure stone with a bluish tint.
LARGE AGRAPH 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 agraph buckle 25 centimeters long.
Heavy gold, ermine-lined coronation robes on the days of celebrations were fastened with huge elegant buckles, designed primarily for visual effect.
A subtle sense of decorativeness helped the jeweler to create a buckle, unusual in shape, fabulous in wealth.
It is made in the form of a bow of 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 juicy leaves.
Careful thoughtfulness 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 at one time worn by Elizaveta Petrovna, and then it in turn belonged to other Russian rulers, becoming a fastener on the coronation ermine mantle.
SMALL IMPERIAL CROWN
Diamonds, silver
Height with cross 13 cm
1801 Craftsmen J. Duval and J. Duval
Traditional in form, the small imperial crown was made by the Duval brothers, famous court jewelers, in 1801 for the coronation of Empress Elizabeth Alekseevna.
The severity and sense of proportion distinguish the work of these masters. Their style is clean, 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 amazingly proportional and balanced. The shine of diamond lace in a silver frame conveys a sense of solemnity, significance, 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 purity and size. The beauty of the stones, the 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 - the Imperial State 1856
Great 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.
Large imperial crown
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