The four-seater coach of Russian work is made in the 1640s. Today it's the single extant specimen of coach used by Russian noblemen in the first half of the 17th century. On the front and back of the undercarriage are medallions with the coat of arms of its first owner, the head aldermen of the city of Bryansk Frantsisko Lesnovolsky. Similar image was found in the Polish book of heraldry, according to which some representatives of the Lesnovolsy dynasty were under the reign of Moscow. This surname was also included into the Russian book of genealogy, in the chapter ‘Surnames,  which came from Poland and Lithuania after 1600’. Obviously, the representatives of one branch of the Lesnopolskys, who had lived in Bryansk, became Russian citizens after 1600 and afterwards were awarded the title of nobility. These materials prove the Russian origin of the carriage. Most likely he received this coach as a reward by ‘personal decree from the Sovereign’. Boyar Nikita Romanov was the second owner of the carriage. Nikita Romanov was Tsar Mikhail Romanov’s cousin and played a significant role at the Russian court. The question of how the boyar acquired the coach and what his connection was with Frantsisko Lesnovolsky has yet to be answered. In 1655, after Romanov’s death, the coach got into the Royal Treasury and then to the Stables Prikaz, as the boyar didn’t have any direct heirs.

Peculiarities of the construction and decoration prove that the equipage was produced in the 1640s in the Stables Prikaz workshops of the Moscow Kremlin. The coach is closed: it has doors, mica windows, but still, there are no springs, crane-neck or axle-pivot. The small rectangular body of the coach is mounted on belts and upholstered in crimson velvet on the outside. The conveyance combines elegance and logic of form with a remarkable harmony of all the decorative elements. The walls and doors are adorned with a dense pattern of squares and copper-gilt nails with decorative raised heads which cover the whole surface. This type of ornament became widespread during this period in the art of Russian and West European coach-building. In the middle of each square is a rosette of silver lace in the form of an eight-pointed star: an ornamental device characteristic only of Russian carriages in this period. The mica windows are decorated with lacy open-work medallions in the form of stars and two-headed eagles. Along the edge of the roof are balusters, a decorative motif which came back into fashion in carriage ornament at this time. Medallions of open-work gilded iron with a plastic foliate pattern and the crest are placed there too.

The décor of the carriage is greatly enhanced by its interior upholstery of expensive Turkish gold velvet (Turkish fabrics were extremely popular in Russia because of their decorative qualities unusually and rich patterns). The wooden posts at the front and back of the undercarriage are decorated with carved and gilded foliate ornament with large pearls.

The equipage is depicted on the V. Surikov’s famous canvas ‘The Morning of the Execution of the Streltsy’.