In the late 17th century, a unique precedent in Russian history happened - two princes ascended the throne right at once. After the death of Tsar Alexey Mikhailovich, his eldest son Fyodor Alexeevich ruled not for long, he suddenly died in 1682. According to the succession law, the next eldest son Ivan, aged fifteen, must have become the tsar, but he was neither smart nor healthy. Thus, it was decided to crown two brothers together - Ivan and ten-year-old Peter, future Peter the Great. Since the eldest brother could not rule the state due to his ill-being and the youngest due to his age, their eldest sister Tsarevna Sophia had become the sovereign till Peter’s maturity.
Such a situation left a peculiar mark on the coronation ceremony that was carried out on 25 May 1682. Everything needed to be doubled: rituals, throne places in the Assumption Cathedral and, naturally, the royal regalia. Patriarch Joachim led the coronation rituals according to the ancient order, with primacy given to the eldest brother, Ivan. The previous regalia were used for Ivan Alexeevich, while for Peter, new regalia were made right before the ceremony. They were the sceptre, similar by form to the sceptre of Mikhail Fyodorovich and evidently imitating it, and the ceremonial crown, later called in the inventories “The Monomakh’s Cap of the Second Set”.
In the Assumption Cathedral, there was arranged “a chamber place” – a special elevation, covered with scarlet fabric, with twelve steps leading to it. Two “gold with stones” thrones and a chair for Patriarch Joachim were placed there. Before the Royal Doors, there stood six altar stands for crosses, barmy (regalia collars), tsar crowns, orbs and sceptres.
The bells of the Assumption Cathedral and the 'Ivan the Great' Belfry rang from the early morning. Surrounded by boyars and Duma clerks, and guarded by the streltsy (archers), the tsars in ceremonial attires left the Faceted Chamber through the Red Porch and went to the crowded Cathedral Square. Having kissed the temple relics, they ascended “a chamber place” and sat on the thrones. Right before crowning, the young sovereigns read the Creed.
The church service began, during which the patriarch and both tsars were sitting under the royal canopy in the centre of the cathedral. After the prayer, the patriarch ordered to lay on Ivan and Peter royal attires and then himself laid crosses and barmy with blessing. On their heads, the patriarch laid crowns and handed orbs and sceptres. The wishes of long life were sung for the new monarchs. After that, the patriarch gave a sermon for the tsars: he urged them to hold the Orthodox faith sacred, to love and reward their subjects, to do everything in accord with a fair trial and remember Dei Judicium.
Before the anointing, the gold chains were laid upon them. At the Royal Doors by the altar, they put off crowns and regalia collars, after which Patriarch Joachim anointed each of them with holy myrrh: the forehead, nape, cheeks, hands and heart. Then, the crowns and barmy were put on again.
When the anointing was over, the sacristans led the tsars arm in arm to the altar, where they received the holy communion before the throne of God. Then, Ivan and Peter went to the Archangel Cathedral to bow unto the dust of their ancestors. In the Annunciation Cathedral (family temple of Moscow monarchs), the brothers kissed the holy icons. Gold coins were poured on them when they went out of the cathedrals. The solemn feast for the clergy, boyars and okolnichy finished the ceremony. Moscow was celebrating the coronation for the tsardom without knowing that the ceremony upon the ancient rite was carried out for the last time in the history of Russia.
Portrait of Prince Peter Alexeevich (?)
Russia, late 17th – 18th с. Unknown artist. Oil on canvas.
The image of the prince is the most ancient child portrait that survived in Russian art. In the second half of the 18th century, the portrait was a part of the dynastic series of the Romanov family portraits, collected upon the order of Count G. Orlov for the Marble Palace in Saint Petersburg, which had been earlier presented to him by Empress Catherine II. The 1786 inventory of the Marble Palace defines the depicted person as Peter I, which goes in accord with the inscription on the back of the canvas “Peter I in Childhood”. However, such iconographic type of numerous portraits of royal children, created in the 18th-19th centuries, referred not only to the name of future Emperor Peter I but also to another heir to the throne – the elder son of Alexey Mikhailovich and his first wife Maria Miloslavskaya, Prince Alexey Alexeevich, who had died prematurely.
The Monomakh’s Cap of the Second Set
Moscow, Kremlin workshops, 1682. Gold, ruby, sapphires, emeralds, tourmalines, carnelian, pearls, velvet; chasing, casting, carving
The solemn coronation for tsardom of Ivan and Peter took place on 25 June 1682 in the Assumption Cathedral of the Moscow Kremlin. Among other regalia of the ceremony, the royal crowns were laid on the brothers: the ancient Monomakh’s Cap was put on Ivan, and a new crown – the Monomakh’s Cap of the Second Set, created specially on the occasion, was put on Peter.
Same as the ancient Monomakh’s Cap, the new one consists of a crown and orbed finial, topped with a Latin cross with pearls. The similarity of both caps can be traced through the resembling decoration of the finials. However, the Monomakh’s Cap of the Second Set has flat plates on the crown unlike the ancient cap, which crown is adorned with gold filigree.
Pectoral Cross of Tsar Peter Alexeevich
Moscow, Kremlin workshops, 1672–1689; superimposed cross – Western Europe, late 16th с. Gold, diamonds, emeralds; casting, chasing, enamel, carving.
Precious pectoral crosses were the essential accessory of tsars’ attire. This gold cross belonged to Tsar Peter Alexeevich. In the centre of its front side, there is a superimposed Latin cross decorated with emeralds. The form and décorfeatures allow attributing it to the work of West European jewellers of the late 16th century. At the same time, the carved crucifixion on one of the emeralds and the carved inscription on the other show the hand of a Russian master and can be dated to the last decades of the 17th century.
Pectoral Cross of Tsar Peter Alexeevich
Moscow, Kremlin workshops, 1672–1689; superimposed cross – Western Europe, late 16th с. Gold, diamonds, emeralds; casting, chasing, enamel, carving (back side).
In the centre of the back side, there is a frontal image of Apostle Peter with traditional attributes in his hands – a scroll and a key. The image is framed with sumptuous floral ornament and is made in coloured enamels technique. Apostle Peter was a patron saint of Tsar Peter Alexeevich, who was christened one month after his birth, on 29 June 1672 - the day commemorating his saint.
In the archive documents, this cross was first mentioned in the 1689 Inventory of Tsar’s Attire and Robe of Tsar Peter Alexeevich. Thus, the cross might have been created between 1672 and 1689, most probably in 1682, for the coronation day of Peter Alexeevich.
Sceptre of Tsar Peter Alexeevich
Moscow, Kremlin workshops, 1680s. Gold, precious stones, pearls; casting, chasing, carving.
The gold sceptre of Tsar Peter Alexeevich was created in the 1680s in the Moscow Kremlin workshops. Its form and a number of details resemble the sceptre of the late 16th century, that was used at the coronation ceremonies of Mikhail Romanov – grandfather of Peter, then his father Alexey Mikhailovich and elder brother Ivan Alexeevich.
Double Throne
The Moscow Kremlin Workshops, 1682-1684s. Silver; wood; casting, chasing, carving, engraving, gilding. Belonged to Tsars Ivan Alexeevich and Peter Alexeevich.
The double throne was produced in the Moscow Kremlin court workshops for the coronation of two brothers, co-rulers Ivan and Peter. More than 200 kg of silver was used to create the throne. Its construction and dimensions evoke associations with architectural object.
The intricate form of the throne corresponds to its complicated décor, which allows naming it a unique piece of Baroque art.
The brothers were the rulers only by words. The factual sovereign of the country and mighty regent by them was Tsarevna Sophia. Called double, the throne was actually triple. Not quite trusting the statecraft of juvenile monarchs, boyars had provided a secret place at the back of the throne for tsars’ mentors. Most often it was Sophia, who occupied it and guided her royal brothers during official ceremonies. The necessary instructions and advice were transmitted through a small orifice above Peter’s place, cut into the back of the throne and concealed by velvet covering.
State Robe (Platno) of Tsar Peter Alexeevich
Moscow, Kremlin workshops, 1691; brocade (axamite) – Venice, 17th с.; gilt lace – Western Europe, 17th с. Brocade, watered silk, lace; weaving, braiding.
Platno (state robe) was royal ceremonial attire, worn on gala occasions, such as coronations, grand celebrations,court receptions of foreign ambassadors. In such a quality, it is first mentioned in the 1628 Inventory of tsar robe and, up to the late 17th century, it had preserved its value. Wide sleeves, absence of a collar and length up to ankles are the main features of the cut, which have direct analogies to a dalmatic, ceremonial attire of Byzantine emperors. This is not accidental: having announced themselves the heirs to Byzantine Orthodoxy, Moscow tsars had transferred to the Russian land many official Byzantine rituals, including the form of the most solemn attire of the ruler.