Peter the Great (2 page)

Rising from a hill 125 feet above the Moscow River, the towers, cupolas and battlements of the Kremlin dominated the city. In Russian, the word "kreml" means "fortress" and the Moscow Kremlin was a mighty citadel. Two rivers and a deep moat rippled beneath its powerful walls. These walls, twelve to sixteen feet thick and rising sixty-five feet above the water, formed a triangle around the crest of the hill, with a perimeter of a mile and a half and a protected enclosure of sixty-nine acres. Twenty massive towers studded the wall at intervals, each a self-contained fortress, each designed to be impregnable. The Kremlin was not impregnable; archers and pikemen and later musketeers and artillerymen could be made to surrender to hunger if not to assault, but the most recent siege, early in the seventeenth century, had lasted two years. Ironically, the besiegers were Russian and the defenders Poles, supporters of a Polish claimant, the False Dmitry, who temporarily occupied the throne. When the Kremlin finally fell, the Russians executed Dmitry, burned his body, primed a cannon on the Kremlin wall and fired his ashes back toward Poland.

In normal times, the Kremlin had two masters, one temporal, the other spiritual: the tsar and the patriarch. Each lived within the fortress and governed his respective realm from there. Crowding around the Kremlin squares were government offices, lawcourts, barracks, bakeries, laundries and stables; nearby stood other palaces and offices and more than forty churches and chapels of the patriarchate of the Russian Orthodox Church. At the center of the Kremlin,! on the crest of the hill around the edges of a wide square, stood four magnificent buildings—three superb cathedrals and a majestic, soaring bell tower—which, then and now, may be considered the physical heart of Russia. Two of these cathedrals, along with the Kremlin wall and many of its towers, had been designed by Italian architects.

The largest and most historic of these cathedrals was the Assumption Cathedral (Uspensky Sobor), in which every Russian tsar or empress from the fifteenth century to the twentieth was crowned. It had been built in 1479 by Ridolfo Fioravanti of Bologna but reflected many essential Russian features of church design. Before beginning its construction, Fioravanti had visited the old Russian cities of Vladimir, Yaroslavl, Rostov and Novgorod to study their beautiful cathedrals, and then produced a Russian church with far more space inside than any Russian had ever seen. Four huge circular columns supported the onion-shaped central dome and its four smaller satellite domes without the complicated webbing of walls and buttressing previously thought necessary. This gave an airiness to the ceiling and a spaciousness to the nave entirely unique in Russia, where the power as well as the beauty of the Gothic arch were unknown.

Across the square from the Assumption Cathedral stood the Cathedral of the Archangel Michael, where the tsars were entombed. Built by Alvesio Novy of Milan, it was considerably more Italianate than either of its two sisters. Inside, amidst its several chapels, the deceased rulers were clustered in groups. In the middle of one small room, three carved stone coffins held Ivan the Terrible and his two sons. Other tsars lay in rows along the walls, their coffins of brass and stone covered with embroidered velvet cloths with inscriptions sewn in pearls around the hems. Tsar Alexis, father of Peter the Great, and two of his sons, Fedor and Ivan VI, also both tsars, would lie in this small room, but
they would be the last. Alexis
third son, Peter, would build a new cathedral in a new city on the Baltic where he and all the Romanovs
who followed would be entombed.*

The smallest of the three cathedrals, the Cathedral of the Annunciation, had nine towers and three porches, and was the only one designed by Russian architects. Its builders came from Pskov, which was famous for its carved stone churches. Used extensively as a private chapel by the tsars and their families, its iconostasis was set with icons by the two most famous painters of this form of religious art in Russia, Theophanes the Greek, who came from Byzantium, and his Russian pupil Andrei Rublev.

On the eastern side of the square, towering above the three

·
Except Peter II, whose body is in the Kremlin, and Nicholas II, the last tsar, whose body was destroyed in a pit outside Ekaterinburg in the Urals.

cathedrals, stood the whitewashed brick bell towers of Ivan the Great, the Bono Tower and the Tower of the Patriarch Philaret, now joined into a single structure. Beneath its highest cupola, 270 feet in the air, rows of bells hung in laddered niches. Cast in silver, copper, bronze and iron, in many sizes and timbres (the largest weighed thirty-one tons), they rang with a hundred messages: summoning Muscovites to early mass or vespers, reminding them of fasts and festivals, tolling the sadness of death, chiming the happiness of marriage, jangling warnings of fire or booming the celebration of victory. At times, they rang all night, driving foreigners to consternation. But Russians loved their bells. On holidays, the common people crowded to the belfries to take turns pulling the ropes. The first bells usually sounded from the Kremlin, then the sound was taken up by all the bells of Moscow's "forty times forty" churches. Before long, waves of sound passed over the city and "the earth shook with their vibrations like thunder" according to one awed visitor.

From building cathedrals, the Italian architects turned to building palaces. In 1487, Ivan the Great commissioned the first stone palace of the Kremlin, the Palace of Facets (Granovitaya Palata), so named because its gray stone exterior walls were cut prismatically to resemble the surface of facet-cut jewels. Its most notable architectural feature was a throne room seventy-seven feet on each side, whose roof was supported by a single, massively arched column in the middle. When foreign ambassadors were being received, and on other state occasions, a small curtained window near the ceiling permitted the cloistered women of the tsar's family to peak down and watch.

The Palace of Facets was primarily an official state building, and thus, in 1499, Ivan the Great ordered another palace of brick and stone in which to live. This five-story building, called the Terem Pa
iace, contained a honeycomb of l
ow-ceilinged, vaulted apartments for himse
lf and the many women—wives, wid
ows, sisters, daughters—of the roy
al family. The building was badl
y
damaged by fire several times d
uring the sixteenth and early seventeenth centuries, but both of the first Romanov tsars, Michael and his son Alexis, lavished great efforts to restore the building. In Alexis' time, the doors, windows, parapets and cornices were made of white stone carved into foliage and figures of birds and animals, then painted bright colors. Alexis devoted special effort to refurbishing the fourth floor as a dwelling for himself. The five principal rooms—anteroom, throne room (known as the Golden Hall), study, bedroom and private chapel— were fitted with wooden walls and floors to prevent the dampness caused by moisture condensing on brick and stone, and the walls

were covered with hangings of embroidered silk, woolen tapestries or tooled leather, depicting scenes from the Old and New Testaments. The arches and ceilings were intersected by curving arabesques and Eastern versions of plants and fairy-tale birds, all done in brilliant colors with lavish inlays of silver and gold. The furnishing of the tsar's apartment was partly traditional and partly modern. The old, carved oaken benches and chests and polished wooden tables were there, but so also were upholstered armchairs, elaborate gilded and ebony tables, clocks, mirrors, portraits and bookcases filled with books of theology and history. One window of the tsar's study was known as the Petitioner's Window. Outside was a small box which could be lowered to the ground, stuffed with petitions and complaints, then raised to be read by the sovereign. The tsar's bedroom was upholstered with Venetian velvet and contained an intricately carved four-poster oak bed, curtained and canopied with brocade and silk and heaped with furs, eiderdown and cushions to ward off the ice currents of winter air that blasted against the windows and eddied under the doors. All these rooms were simultaneously heated and decorated by huge stoves of glazed, colored tiles whose radiant warmth also kept Russia's rulers warm.

The major drawback to these splendid chambers was their lack of light. Little sunlight could filter through the narrow windows with their double sheets of mica separated by strips of lead. Not only at night and on the short, gray days of winter, but even in summertime, most of the illumination in the Terem Palace came from the light of flickering candles in the alcoves and along the walls.

In the third quarter of the seventeenth century, the royal chambers were occupied by the second tsar of the Romanov dynasty, "the Great Lord, Tsar and Grand Duke, Alexis Mikhailovich, of all Great and Little and White Russia, Autocrat." Remote and inaccessible to his subjects, this august figure was enclosed in an aura of semi-divinity. An embassy of Englishmen, come in 1664 to thank the Tsar for his constant support of their once-exiled monarch, Charles II, was deeply impressed by the sight of Tsar Alexis seated on his throne:

The Tsar like a sparkling sun darted forth most sumptuous rays, being most magnificently placed upon his throne, with his scepter in his hand and having his crown on his head. His throne was of massy silver gilt, wrought curiously on top with several works and pyramids; and being seven or eight steps higher than the floor, it rendered the person of the Prince transcendently majestic
. His
crown (which he wore upon a cap lined with black sables) was covered quite over with precious stones, terminating toward the top in the form of a pyramid with a golden cross at the spire. The scepter guttered also all over with jewels, his vest was set with the like from the top to the bottom and his collar was answerable to the same.

From infancy, Russians had been taught to regard their ruler as an almost god-like creature. Their proverbs embodied this view: "Only God and the tsar know," "One-sun shines in heaven and the Russian tsar on earth," "Through God and the tsar, Russia is strong," "It is very high up to God; it is a very long way to the tsar."

Another proverb, "The sovereign is the father, the earth the mother," related the Russian's feeling for the tsar to his feeling for the land. The land, the earth, the motherland, "rodina," was feminine. Not the pure maiden, the virgin girl, but the eternal mature woman, the fertile mother. All Russians were her children. In a sense, long before communism, the Russian land was communal. It belonged to the tsar as father, but also to the people, his family. Its disposal belonged to the tsar—he could give away vast tracts to favored noblemen—yet it still remained the joint property of the national family. When it was threatened, all were willing to die for it.

The tsar, in this familial scheme, was the father, "Batushka," of the people. His autocratic rule was patriarchal. He addressed his subjects as his children and had the same unlimited power over them that a father has over his children. The Russian people could not imagine any limitation of the power of the tsar, "for how can a father's authority be limited except by God?" When he commanded, they obeyed for the same reason that when a father commands, the child must obey, without question. At times, obeisance before the tsar took on a slavish, Byzantine quality. Russian noblemen, when greeting or receiving favors from the tsar, prostrated themselves in front of him, touching the ground with their foreheads. When addressing his royal master, Artemon Matveev, who was Tsar Alexis' leading minister and close friend, declared, "We humbly beseech you, we your slave Artemushka Matveev, with the lowly worm, my son Adrushka, before the high throne of Your Royal Majesty, bowing our faces to the earth. . . ." In addressing the tsar, his whole lengthy official title had to be used. In so doing, the accidental omission of a single word could be considered an act of personal disrespect almost equivalent to treason. The tsar's own
conversation was sacrosant: " "t
is death for anyone to reveal what is spoken in the tsar's palace," declared an English resident.

In fact, the demi-god who bore these titles, who wore a crown braided with "tufts of diamonds as big as peas, resembling bunches of glittering grapes" and the imperial mantle embroidered with emeralds, pearls and gold, was
a.
relatively unassuming mortal. Tsar Alexis was recognized in his own time as "tishaishy tsar," the quietest, gentlest and most pious of all the tsars, and when he succeeded his father on the throne in 1645 at the age of sixteen, he was already known as "the Young Monk." In manhood, he grew taller than most Russians, about six feet, well built, inclined to fat. His roundish face was framed by light-brown hair, a mustache and a flowing brown beard. His eyes also were brown, their tone ranging from hardness in anger to warmth in affection and religious humility. "His Imperial Majesty is a goodly person, about two months older than King Charles II," reported his English physician, Dr. Samuel Collins, adding that his patron was "severe in his chastisements but very careful of his subjects' love. Being urged by a stranger to make it [punishable by] death for any man to desert his colors, he answered, 'It was a hard case to do that, for God has not given courage to all men alike.'"

Although he was tsar, Alexis' life inside the Kremlin was more like that of a monk. At four a.m., the Tsar threw aside his sable coverlet and stepped from his bed clad in shirt and drawers. He dressed and went immediately to the chapel next to his bedroom for twenty minutes of prayers and readings from devotional books. When he had kissed the icons and been sprinkled with holy water, he emerged and sent a chamberlain to bid the Tsaritsa good morning and ask after her health. A few minutes later, he went to her chamber to escort her to another chapel, where together they heard morning prayer and early mass.