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 kings and great princes, who once accepted these regalia from 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 arts Christ was depicted with the power 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 masculinity, then the power is female.
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.
Regalia - external signs of the monarch's power- were known from ancient times and were basically the same everywhere.
In Russia, the imperial regalia were a crown, a scepter, an orb, a state sword, a state shield, state seal, state banner, state eagle and state emblem. To the regalia in in a broad sense also included a throne, purple and some royal clothes, in particular barmas, which under Peter I were replaced by the imperial mantle.
Crown- the crown of the monarch, used in ceremonies. The first European-style crown in Russia was made in 1724 for the coronation of Catherine I. Emperor Peter II was also crowned with this crown. He ordered the arc dividing the crown to be decorated with a large ruby, purchased by order of Tsar Alexei Mikhailovich in Beijing from the Chinese Bogdykhan; a diamond cross was attached to the top of the ruby. For the coronation of Anna Ivanovna, a crown of a similar configuration was ordered, but even more luxurious: it was decorated with 2605 precious stones. A ruby taken from the crown of Peter II was placed on the arch. Empress Elizaveta Petrovna was crowned with the same crown (only slightly altered). Empress Catherine II for her coronation in
1762 ordered a new crown from the jeweler J. Pozier. The silver and gold crown is set with 4,936 diamonds and 75 pearls, and is crowned with a historical stone - a bright red spinel (lal, ruby) weighing 398.72 carats; its height with a cross is 27.5 cm. In terms of perfection of shape, balance of design, and the number of embedded diamonds, the Great Crown ranks first among European regalia. The finished crown weighed about 2 kg. For the coronation of Paul I, it was slightly expanded, and 75 pearls were replaced by 54 larger ones. All subsequent emperors were crowned with this crown. Small imperial crown was made in 1801 by jewelers Duval from silver and diamonds (height with a cross 13 cm).
Scepter- a staff decorated precious stones and carvings - was the oldest symbol of royal power. In the Middle Ages, bowing the scepter served as a sign of royal favor, and kissing the scepter was a sign of acceptance of citizenship. In Russia, the ceremonial presentation of the scepter to the Tsar for the first time took place during the coronation of Fyodor Ivanovich. When Mikhail Fedorovich was elected tsar (1613), he was presented with the royal staff as the main sign of supreme power. During royal crownings and other solemn occasions, the Moscow kings held the scepter in their right hand; during large appearances, the scepter was carried in front of the king by special attorneys. Several scepters are kept in the Armory. Under Catherine II in 1762, a new scepter was made simultaneously with the crown. The scepter that can now be seen in the Armory was made in the 1770s: a golden rod 59.5 cm long, sprinkled with diamonds and other precious stones. In 1774, the decoration of the scepter was supplemented by decorating it top part Orlov diamond (189.62 carats). A gold image of a double-headed eagle is attached to the diamond.
Power ("apple" royal rank») - a ball topped with a crown or cross, a symbol of the power of the monarch. Russia borrowed this emblem from Poland. It was first used in 1606 during the crowning of False Dmitry I. The ceremonial presentation of an apple to the king during the crowning of the kingdom was mentioned for the first time during the crowning of Vasily Shuisky. In 1762, a new orb was made for the coronation of Catherine II. It is a ball of blue yacht (200 carats) topped with a cross, decorated with gold, silver and diamonds (46.92 carats). The height of the orb with the cross is 24 cm.
Preserved to this day State sword was made at the end of the 17th century. The engraved steel blade is topped with a gilded silver hilt. The length of the sword (with hilt) is 141 cm. The State Shield, made at the same time as the State Sword - it was carried only at the burial of the sovereign - is decorated with gold, silver, and plaques from rock crystal with emeralds and rubies, chasing, notching and sewing. Its diameter is 58.4 cm.
State seal attached to state acts as a sign of their final approval by the supreme authority. When the emperor ascended the throne, it was made in three types: large, medium and small.
Regalia Royal Power: Crown, Scepter, Power
A crown, scepter, orb are regalia, signs of royal, royal and imperial power, generally accepted in all states where such power exists. The origin of the regalia owes mainly to the ancient world. So, the crown originates from the wreath, which in ancient world placed on the head of the winner in competitions. Then it turned into a sign of honor given to someone who distinguished himself in war - a military leader or official, thus becoming a badge of official 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.
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.
Large outfit of Tsar Mikhail Fedorovich. Crown - Moscow Kremlin Workshops, 1627. Power - Western Europe, late 16th century. Scepter - Western Europe, around 1600.
There is a well-known story from the Englishman Horsey, an eyewitness to the coronation of Fyodor Ivanovich, son of Ivan the Terrible:
“On the king’s head was a precious crown, and in his right hand 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 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 the whole kingdom given to you by God, keeping them from external enemies.”
Mikhail Fedorovich
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 to the tsar in right hand the scepter, and to the left - the orb. 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.
Calling of Mikhail Fedorovich
Great Outfit of Tsar Mikhail Fedorovich
After liberation from the Polish invaders, the Russian state needed a lot of weapons for the troops defending its borders. In addition, the new Tsar - Mikhail Fedorovich Romanov - needed to restore the wealth and splendor of the Moscow court. In the royal workshops they began to hastily prepare new jewelry, gold and silver utensils, and ceremonial weapons.
And in 1627-1628, Kremlin jewelers made for Mikhail Fedorovich the “sovereign’s Great Attire,” which included a gold royal crown, scepter and orb decorated with bright enamel and precious stones. The Russian Tsar wore the “big outfit” only on especially solemn occasions - during “grand entrances” and when receiving foreign ambassadors.
The gold chased crown of the “Big Treasury outfit” is surrounded by typically Russian slotted “gorodki” and openwork cufflinks with precious stones. Their abundance in combination with white, blue and green enamels creates a sonorous colorful range.
The orb of the “Big Dress” is a golden belt divided into two equal hemispheres and crowned with a high cross. The upper hemisphere, in turn, is divided into four parts, each of which contains a chased image from the life of the biblical King David, symbolizing the wisdom of the ruler; skillfully chased reliefs are enlivened by multi-colored mosaics.
"Big outfit." Orb and scepter. Fragment Late 16th century, around 1600
Gold, precious stones, pearls, fur, armor; embossing, engraving, carving, shotting
Power: height 42.4 cm, circumference 66.5. Scepter: height 70.5 cm, minimum diameter 17, maximum diameter 25 cm
Solntsev Fedor Grigorievich
Enameled medallions are embossed and decorated with precious stones. In general, the state has 58 diamonds, 89 rubies and tourmalines, 23 sapphires, 51 emeralds and 37 large pearls.
The scepter consists of three columns connected to each other and completely covered with enamels and precious stones. It symbolized the world axis, was close to a magic wand, club, lightning; the scepter was the emblem of Zeus, as well as all gods associated with fertility.
The ancient scepter of the large outfit, stored in the Armory Chamber, in the inventory of the Sovereign's large outfit, compiled in 1642 by decree of the Tsar and Grand Duke Mikhail Fedorovich, is described as follows:
“A scepter of gold, chased with pink enamel and stones, with diamonds and worm-like yachts and emeralds; at the top there are three eagles with their wings flattened together, with enamel; on the top of the eagles there is a crown, on the crown on the back there is a stone Yakhont Lazorev, on it is Gurmitsky grain. The azure yakhont was removed from the scepter, and an emerald was placed in that place.”
After replacing the azure yacht with an emerald, this scepter of a large outfit, as can be seen from subsequent inventories, has been preserved in the same form to the present day. He is also mentioned in the inventory of the treasury and royal outfit of Tsar Ivan Alekseevich:
“The scepter is gold with pink enamel, on it is an eagle with a crown, on the crown is an emerald; on the top and bottom of that emerald there are grains of Gurmitz; it contains twenty diamonds, nine worm-shaped jahonts, three emeralds; one diamond is missing; the vagina is covered with scarlet velvet, in the middle with worm-shaped satin.”
During the general reign of the kings and great princes John and Peter Alekseevich, this scepter belonged to John. And for Tsar Peter Alekseevich a scepter similar to it was made, gold with colored enamel and also decorated with a large emerald, on the back, with two Burmita grains, three small emeralds, twenty diamonds and nine yachts.
These royal regalia were intended to symbolize the wealth and growing power of the Russian state. And for Tsar Mikhail Fedorovich, a saadak was made - a bow and a quiver of arrows, decorated with a gold and enamel pattern. The bow and quiver play with bright colors: among the grasses of the ornament, woven into it, sapphires, emeralds and rubies sparkle. Ornament is easy and free! covers the entire surface with fancy curls and bouquets.
In the center of the entire composition, the heraldic symbols of the Russian state are made in multicolor enamel: a double-headed eagle, St. George the Victorious, a unicorn, a griffin and an eagle.
Saadak was made relatively quickly: work began in August 1627, and by November 1628 it was already completed. Created it large group craftsmen, including German jewelers who served in the Armory. And yet, these things corresponded to the original Russian tastes of that time.
About 3.5 kilograms of ash from more than 500 diamonds, rubies, emeralds and sapphires were used to make the saadak. The surface of the saadak was colored with a bright enamel pattern and gold ornament of herbs, flowers and bouquets, forming a very intricate composition.
Mikhail Fedorovich in the Great Dress.
The large outfit was kept in the State Yard, in the Big Treasury. Therefore, it was also called the outfit of the Big Treasury.
In pre-Petrine Rus', royal clothes and utensils were divided into outfits, that is, selected according to type and value. The precious items were kept in the State Yard, everything else was kept in the treasury of the Workshop Chamber; Each storage facility had a special account for the Order. Under Tsar Mikhail Fedorovich, the notebook of the Workshop Chamber listed thirty outfits of ordinary dress, and in the State Court there were 8 outfits.
State courtyard in the Kremlin
From the "Book on the election of the great sovereign, tsar and grand duke Mikhail Fedorovich to the kingdom." Miniature. Fragment
Moscow, 1672-1673
The Great Treasury Order included the regalia that sovereigns wore on the day of their crowning, when receiving envoys and foreigners, during the consecration of bishops, and on great holidays (for example, the Donkey Procession).
Composition of the Big Outfit
1. Golden Cross from the Life-Giving Tree, with a golden chain (crossed chain).
The golden chain of Tsar Mikhail Fedorovich, made by Kremlin craftsmen, is the earliest of the royal chains in the collection of the Armory Chamber. It was first mentioned in documents of the royal treasury in 1640. It contains 88 round, slightly curved rings, on a canfared background of which there is an inscription similar to an ornament, passing from ring to ring. The inscription includes a prayer to the Holy Trinity, full title Tsar with a list of cities, principalities, lands that were then part of the Russian state, and instructions to the Tsar to live “according to the commandments of God, to rule wisely and justly.”
2. Monomakh's cap and other royal crowns.
Monomakh's hat. Made in the East (Bukhara, Khorezm or Egypt). Since the 18th century - heraldic crown of the kingdoms of Great, Little and White Rus'.
Monomakh's hat is the main regalia of the Russian Grand Dukes and Tsars. The symbol of the crown of autocracy in Russia. It is a gold filigree pointed headdress, presumably of oriental workmanship of the late 13th - early 14th centuries, with a sable edge, decorated with precious stones: pearls, rubies, emeralds and a cross.
“Monomakh's Cap” is one of the most ancient regalia stored in the Armory Chamber of the Moscow Kremlin. Starting from Ivan Kalita, all the spiritual letters of the Moscow princes mention the “golden hat”. It is possible that it was for the first time in 1572 that it was called “Monomakh’s hat” in the will of Ivan the Terrible.
3. Tiara - a wide round necklace.
Barmy. Armouries
Barmy (by different sources, comes from the Greek. parmai - round shield, or from Pers. berme - guarding, protection, or from other Polish. brama - decorations on the hands and feet of women, or from ancient history. barm - edge) - a wide mantle with religious images and precious stones sewn onto it. Barmas made of round metal shields, fastened with cords and decorated with precious stones and enamels, appeared in Byzantium, where they were part of formal clothes emperors.
According to legend, they were first sent to Russia from Byzantium by Emperor Alexei I Komnenos for Vladimir Monomakh. However, the first chronicle mention of them occurs in 1216 and reports that a “vestment” embroidered with gold was worn by all princes. The coronation regalia was first mentioned in 1498 - they were placed on Prince Dmitry (son of Ivan the Young). WITH mid-16th century centuries until the beginning of the 18th century, barmas were worn by Russian princes and tsars during coronation and during ceremonial exits.
Before the royal wedding, barmas were taken from the storage of royal clothes and regalia to the Assumption Cathedral and left on a golden platter in the altar. At the wedding, after laying the pectoral cross on the king, the metropolitan sent two archimandrites and the abbot to the altar for barmas, who gave them to the bishops, who gave the barmas to the metropolitan. After three bows and a kiss, the Metropolitan, marking the king with barmas, placed them on him, blessing him with a cross. After the laying of the barm, the laying of the crown followed.
4. Scepter.
The scepter (ancient Greek σκῆπτρον “rod”) is the oldest symbol of power, used by the pharaohs. The prototype of the scepter is a shepherd's staff, which was then assigned by the church to bishops as a sign of pastoral power; European sovereigns replaced it with shortened staffs - sceptres.
“Big Outfit”: the crown of Mikhail Fedorovich and the scepter and orb of Boris Godunov. Clickable
The scepter became part of the attributes of Russian royal power in 1584 at the crowning of Fyodor Ioannovich. One of the synonyms for the word king was the word scepter holder.
View of the old building of the Armory Chamber
P.A. Gerasimov. Watercolor.
Mid-19th century
The scepters of the Moscow kings are kept in the Armory Chamber. The scepter, used by Russian sovereigns, was made for the coronation of Paul I, in the form of a golden rod, sprinkled with diamonds and precious stones; at the top is the famous Orlov diamond.
Upper part of the Imperial scepter with the Orlov diamond
Story
The scepter was made in the early 1770s for Empress Catherine II the Great. Materials used: gold, Orlov diamond, diamonds, silver, enamel.
Scepter length - 59.5 cm
The smoothly polished golden surface of the scepter is intercepted by eight diamond rims, the handle is embossed with flutes (vertical grooves), enhancing the play of chiaroscuro.
The scepter is completed with a cast gold double-headed eagle - coat of arms Russian Empire, decorated with black enamel and diamonds.
The pomp of this emblem of monarchical power was enhanced by the luxurious Orlov diamond, which adorned the scepter in 1774.
Nowadays the imperial scepter is kept in the Diamond Fund of the Russian Federation.
A scepter is 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 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.
5. A golden apple with a cross - that is, a power.
Power (Old Slavic djerzha - power) - symbol state power monarch, which was a golden ball with a crown or cross.
Historically, the power was a sign of distinction for the emperors of the Roman Empire and English kings, and later became an attribute of power for a number of Western European monarchs. With the advent of the Christian era, the power was crowned with a cross.
Power of Tsar Mikhail Fedorovich (second half of the 16th century); Imperial Power, 1762 (gold, diamonds, sapphire 200 carats, diamond 46.92 carats, silver, height with cross 24 cm)
Russia adopted this sign from Poland, where it was called an apple. The orb was first used as a symbol of the power of the Russian Tsar in 1557.
If the scepter is considered a symbol of the masculine, then the orb is considered to be feminine.
The power (or power apple) in the Russian Christian tradition symbolizes the Kingdom of Heaven and, often, in medieval painting and it was customary to depict Jesus Christ or God the Father with an orb in iconography.
Power is a symbol of knowledge. "Apple" is a symbol of the fruit of the tree of knowledge in the Bible.
A power is 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.
The orb is a sphere of precious metal crowned 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, golden 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.
6. Okladen - a chain or belt with an eagle.
Gold filigree chain
At the end of the 17th century. in the treasury there were more than 40 gold chains and chains of the 16th-17th centuries. - integral components of ceremonial royal clothing. Among those that have survived to our time, the most famous is the “Big Outfit” chain. It was presented to Tsar Mikhail Fedorovich in 1631 by the Dutch stadtholder Frederick Henry of Orange. Manufactured in Western Europe in the 1620s, it was remade by the masters of the Armory and became part of the “Great Order”. After alterations in the 1640s. the chain consists of 79 scanned rectangular triangular links.
Marshall's baton
The rod is a symbol of spiritual and temporal power, as well as the power of army commanders (in ancient times). The marshal's batons that have survived to this day have the shape of a short stick, are made of silver or gold and are decorated with precious stones and state emblems. In court life, the baton is used by some court officials: marshals, masters of ceremonies and others. These rods usually take the form of a metal or bone cane, topped with a state emblem. Currently, marshal and court batons are used only on special occasions.
8. Royal fee.
Royal payment - royal regalia; clothing included in the Big Outfit. It was used on especially solemn occasions: at royal weddings, at meetings of foreign ambassadors, during holidays.
Tsar Fyodor Alekseevich in front of the image of the Savior Not Made by Hands. 1686 Ivan Saltanov, Erofey Elin, Luka Smolyaninov. Moscow, Armory Chamber. Tree; tempera, oil. 244 x 119. Received in 1891. Comes from the Archangel Cathedral of the Moscow Kremlin.
Description Paid
The cut was similar to the opashny. Long clothes with sleeves. It differed from opashnya platno by the absence of stripes. Stripes - transverse stripes according to the number of buttons. Each patch had a buttonhole, so later the patches came to be called buttonholes.
The royal cloth was made from expensive gold fabrics: altabas, axamite and others. Taffeta lining, satin edge. The length of the sleeves is 10 or 11 inches. Sleeve width 6, 7 or 8 cubits. The width at the hem is about 4 arshins. Along the edges and cuts, Tsarskoye was trimmed with pearl lace (border). It was fastened with 11 or 12 buttons.
Royal fur coat on ermine fur.
The royal coat was worn for a fee on the royal caftan.
Since 1678, Tsarskoye began to be called porphyry.
During burials, the king's body was covered with the Royal Toll. They covered it with a coffin cover for a fee.
9. Royal camp caftan.
Kaftan (Persian خفتان) - men's dress; there are Turkish, Persian and Moroccan kaftans.
Also called kavtan, koftan. A long garment that extends almost to the floor, with buttons and clasps at the front.
Sagittarius in caftans
10. Royal place.
The royal place is in a broad sense the throne, the throne of the Russian Tsar, in a more specific sense it is the Tsar’s place of honor in Orthodox church, adjacent from the side of the iconostasis to one of the eastern pillars in the cathedral or to the side wall in its interior; included a fenced seat behind a separate entrance and ended with a richly decorated wooden tent on carved columns, which was usually topped with an image of a crown or a double-headed eagle. The most famous such monument is in the Assumption Cathedral of the Moscow Kremlin (the so-called Monomakh throne).
Monomakh throne.1856
11. Items of clothing (tafya, cap, chebots, staff presented to Mikhail Fedorovich in 1613, wicket of Grand Duke Danil).
12. Other items: stoyan (stoyan), on which the orb was placed, ladles for treating ambassadors, bell axes, golden bell chains, and more.
***
Rynda was a squire-bodyguard for the great princes and tsars of Russia in the 16th-17th centuries.
Story
Ryndas accompanied the king on campaigns and trips. During palace ceremonies, they stood in ceremonial clothes on both sides of the throne with berdysh on their shoulders. They were recruited from young men of noble origin. During the reception of foreign ambassadors, bells stood on both sides of the royal throne, with small hatchets; stand by right side was considered more honorable (hence localism). During the war, bells followed the sovereign everywhere, carrying weapons behind him. Each bell had 1-3 subrynds or taxes (also from stolniks). The main rynda enjoyed the right to add -vich to his patronymic. Since the bells were not court ranks, they did not receive a salary. They were in charge of the armorer.
Rynda with a large saadak is the king's main squire. There were also bells with another saadak, with a smaller spear, with a spear, etc.
The position of the bell was abolished under Peter I in 1698.
Ryndh clothing
Ivan Bilibin. Costume for the opera "Boris Godunov" by Mussorgsky.
Ryndas dressed in clothes white, embroidered with silver. The inventory of Mikhail Fedorovich’s treasury lists the “Ryndov dress”:
Four ermine coats under white damask, trimmed with ermine, on the coats there are eight ties with silver tassels.
four white terliks made of Indian damask, white fox underwear, ermine necklaces, five stripes with silver tassels.
four Kyzylbash sashes with gold stripes and silk stripes of different colors.
four lynx caps, four white arctic caps.
white morocco boots.
Meek (mourning) clothing.
Four sable fur coats under black satin, fur coats with 8 ties with black tassels.
four terliks of clove satin (or cherry).
four caps of clove or cherry taffeta.
black morocco boots.
Clothes and bell axes were kept as part of the Great Order.
Instead of a terlik, a feryaz could be used.
V. Semenov. Rynda.
Wearing outfits
At different times, the composition of the Great Dress could change slightly. For example, Fyodor Alekseevich, as part of the Big Dress, wore shoes instead of boots.
10 rings were kept in the Great Treasury, which the king wore along with the Great Attire to receptions of ambassadors. For example, on August 18, 1647, when receiving the Lithuanian ambassador, the king wore 4 rings. When receiving the Dutch ambassador on June 20, 1648 - 9 rings.
IN different cases items from the Big Outfit could be combined with items from other outfits. For example, on January 6, 1671, during the royal entrance, the king wore: a cross, a diadem of the second outfit, a royal hat of the first outfit, a royal cap of the second outfit, etc.
Kalita was passed down from generation to generation and kept as part of the Great Order, as a reminder of the mercy of Ivan Kalita. On April 19, 1635, a new gate was made from damask, modeled after the gate of Ivan Danilovich Kalita.
Stoyanets (stoyans) - silver pyramids about an arshin high. On the truncated top of the pyramid there was a dish for placing the power. The man standing stood to the left of the throne.
Illustrations - Solntsev Fedor Grigorievich
Royal power cannot be imagined without its symbolic attributes, such as the crown, orb and scepter. These regalia are generally accepted - in addition to Russian rulers, they were and are used by kings and emperors of all powers. Each of these items has special meaning And unique story appearance.
Apple Power
The power (from the Old Russian "d'rzha" - power) is a golden ball covered with precious stones and crowned with a cross (in the Christian era) or other symbols. First of all, it personifies the sovereign power of the monarch over the country. This significant item came to Russia from Poland during the time of False Dmitry I and was used for the first time at his crowning ceremony, bearing the name “power”.It was not for nothing that the state was called an apple; it resembles not only its roundness - this fruit is an image of the world. In addition, this deeply symbolic object signifies the feminine principle.
With its round shape, the power, just like, personifies the globe.
The image of the power also has religious overtones. Indeed, on some canvases Christ was depicted with her, as the Savior of the world or God the Father. The sovereign apple was used here in the Kingdom of Heaven. And through the rite of anointing, the powers of Jesus Christ are transferred to the Orthodox king - the king must lead his people to the final battle with the Antichrist and defeat him.
Scepter
According to legend, the scepter was an attribute of the gods Zeus and Hera (or Jupiter and Juno in Roman mythology). There is evidence that Ancient Egypt also used an object similar in meaning and appearance with a scepter.The shepherd's staff is the prototype of the scepter, which later became a sign of pastoral power among church ministers. European rulers shortened it, resulting in an object that is known from medieval paintings and numerous historical notes. In shape it resembles a rod, made of gold, silver or other precious materials and symbolizes.
Often Western European rulers had a second rod in addition to the main one; it acted as supreme justice. The scepter of justice was decorated with the “hand of justice” - a finger pointing to.
At the crowning of Fyodor Ioanovich in 1584, the scepter became a full-fledged sign of autocratic power. And a little less than a century later, he and the state began to be depicted on the coat of arms of Russia.
Symbols of royal, royal or imperial power are a number of material signs of the ruler, called regalia. The set of regalia in different states is approximately the same. External symbols of state power have been known since ancient times and were originally called insignia.
It is customary to include various regalia as symbols of royal, imperial and royal power. In Russia they were the state shield and sword, the state and the great state seal. In a broad sense, symbols of this were also the throne and ceremonial robes, such as purple.
The royal son Phileus observed the execution of the contract and confirmed that he had fulfilled his part of the promise. The son of Zeus diverted the beds of the rivers Peneus and Alpheus, destroyed the walls of the stables and built a canal through the barnyard, into which water poured and carried away all the manure within a day. Augeas was angry and did not want to give the bulls as a reward, and he drove his son, who spoke out in defense of the hero, out of the country along with Hercules. This feat became the sixth in the list of the twelve labors of Hercules.
Later, Hercules took revenge on Augeas: he gathered an army, started a war with him, captured Elis and killed the king with an arrow.
The meaning of the phraseological unit “Augean stables”
Also, sometimes Augean stables are called not only a place, but also a state of affairs: for example, this can be said about the neglected situation in the country or the disorder in the affairs of any organization. In any case, this is a situation that requires either very great efforts to correct or drastic measures.
Antiquities 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, faces are painted in niello: Holy Trinity, St. John the Baptist, Archangel Gabriel, St. Nicholas the Wonderworker, St. Basil of Paria, Theodore Stratelates, John Climacus, Ven. Sergius and Anastasia the Romans.
Since, according to ancient custom in Rus', in 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.” Were in Moscow then Patriarch of Jerusalem Theophan, who installed Philaret as Patriarch, and with him the Greek elders Nektarios and Ioannikios: the Moscow High Hierarch, and turned to 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 in 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.
Color, if coloring can be called color, is distinguished by hardness, brightness, bonyness on high places and fluidity, which foreign artists are rightly surprised by 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. List from this icon, big size, is among the local images of the Assumption Cathedral of the Trinity-Sergei Lavra. (pp. 29-31)
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