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✨I recently came across a trend involving figurines, and it made me wish that Romanov-themed figurines were available as well❤️🔥
✨Недавно я наткнулась на тренд с фигурками, и мне очень захотелось, чтобы существовали фигурки с Романовыми❤️🔥
🍂Several early drawings by Tsarevich Nicholas Alexandrovich, the future Emperor Nicholas II, have survived to this day in the Russian State Archive, attesting to his notable artistic abilities. His mother, Empress Maria Feodorovna (Dagmar), attached great importance to cultivating artistic taste and creative skills in all her children.
The entire educational program for the imperial children was designed for eight years, with a workload of up to forty-eight academic hours per week. Two hours of drawing were a permanent and compulsory part of their schedule. By the age of sixteen, Nicholas had already achieved considerable mastery in watercolor. His artistic training proved useful beyond leisure: in the Armory Chamber of the Moscow Kremlin is preserved the so called “jewelry album” a notebook containing 305 detailed drawings of gifts he received over the course of twenty-five years, testifying to his precision and attention to detail.
This tradition of artistic education continued into the next generation as well. Nicholas II’s daughters were also taught drawing and painting.
🗞️Another example can be found in Emperor Nicholas II’s Diary for 1912–1913, during the military reform, where he recorded his visit to the Borodino Palace. On the left side of the entry, the Emperor himself made a drawing of the palace, serving as a vivid supplement to his written description.
🍁During his imprisonment in Yekaterinburg, Nicholas II made a plan of the house where he and his family were kept under guard. In his diary, he recorded on April 21 (May 4): “Spent the whole morning writing letters to the girls from Alix and Maria and drew a plan of this house,” since the rest of the family was still in Tobolsk. However, Commandant Avdeev did not allow this drawing to be sent. On April 24 (May 7), Nicholas noted: “Avdeev, the commandant, took away the plan of the house that I made for the children in a letter the day before yesterday, and carried it off, saying I could not send it.”
🗞️Mention of this house plan is also found in Avdeev’s memoirs: “Once, while examining the correspondence, my attention was drawn to a letter addressed to Nikolai Nikolaevich. Upon checking the lining of the envelope, I discovered a thin sheet of paper on which a plan of the house had been drawn.”
(Kindly if you would like to repost at least don’t copy and paste my whole text and paraphrase it. It is important to count on yourself and practice Wiritng.)
An American Perspective: A Series of Caricatures of the Russian Empire from Puck Magazine (as presented by Kulturologia)🇺🇸 do not take any of the information below without referring to Kulturologia. Thank you.
🗞️“The Russian Crown” (1905) – a satirical image reflecting the instability of autocratic authority during the revolutionary crisis.
🗞️“Learning to Walk” (1906) – a depiction of Russia’s tentative steps toward constitutional governance after the establishment of the State Duma.
🗞️“The Progress of Russian Liberty” (1907) – formerly, patriots were exiled to Siberia; now they are confined within the Duma, shackled by the chains of bureaucracy. The caricature suggests that political reform had become another form of repression.
🗞️“The Empty Plate” (1900) – the British lion holds a knife inscribed “Partition of Turkey.” Meanwhile, a turkey symbolizing the Ottoman Empire peers in from outside, remarking: “How gloomy you all look! I, at least, have no complaints!” This illustrates European competition over the “Eastern Question.”
🗞️“Exposed to World Contempt” (1903) – portraying Russia as humiliated in the international arena, reflecting growing criticism of its domestic and foreign policies.
🗞️“Little Father” (early 1900s) – a caricature of the Tsar as the “batyushka,” ironically questioning his paternalistic role amid mounting unrest.
🗞️“The New Great Wall of China” (1899) – Russia stands isolated against Japan, Britain, the United States, Germany, France, and others, symbolizing the geopolitical tensions in East Asia on the eve of the Russo-Japanese conflict.
🗞️“A Voice from the Past” (1905) – recalling the revolutionary upheaval and the echoes of earlier autocratic oppression, juxtaposed with modern demands for reform.
Announcement of the signatures and seals of the bridal couple. Please do not repost without mentioning the archives!
Notes (Document):
Princess Alix Victoria Helene Louise Beatrice of Hesse and by Rhine, now Grand Duchess Alexandra Feodorovna of Russia, renounces her claims in accordance with the customs of the House and the Fundamental Law of the Grand Duchy, in view of her engagement. Entered into with the consent of her brother, Grand Duke Ernst Ludwig of Hesse and by Rhine to Emperor Nicholas II of Russia.
– Declaration of consent by the Emperor.
Source:Hessian State Archives Darmstadt
Portrait of Empress Maria Feodorovna in the Hall of the Noble Assembly, 1913 🖤
Notably, in 1915 the Hall of the Noble Assembly was used to accommodate wounded servicemen.
I noticed that some authors had published this portrait with a watermark bearing their username. This aroused my curiosity, as I had never seen this portrait before. In the course of further research, I discovered it in the above-mentioned source “Notes of a Boring Man” without any watermark.
The loyalty and devotion of Michael Alexandrovich❤️🩹💌
Michael was known for his sincerity, loyalty, and devotion, particularly to Natalia, whom he married despite imperial disapproval
• Source: Michael to Natasha, November 1, 1909, GARF 622/12
🎞️Alexandra feodorovna in the uniform of Her Majesty's Uhlan Regiment
1903🖤Krasnoye Selo
Please do not share this image without crediting the archives. These materials come from historical collections, and it’s important to acknowledge their source so the context and authenticity are preserved.
Source: Arcinsys Hessen, HStAD, D 27 B, 2166
In 1884, when she was nine years old, Grand Duchess Xenia Alexandrovna was honored with the dedication of a musical piece titled Xenia Polka Mazurka, composed by the Danish musician Valdemar Vater. This work is frequently mentioned in biographical accounts of Xenia as a musical tribute offered during her visit to Denmark. Despite these references, Valdemar Vater himself remains largely undocumented in major musicological sources and archival collections.
Source: © Det Kongelige Bibliotek, music dept.
The only known extant source for this composition is held by the Music Department of the Royal Danish Library (Det Kongelige Bibliotek), where the original sheet music Vater, Wald. Xenia Alexandrovna: Polka Mazurka, komponeret for Pianoforte is preserved. However, it is available for consultation exclusively in the library’s reading room, and no digitized version or broader distribution appears to exist.
Group portrait at a masquerade ball, 1891, featuring Ludwig IV of Hesse and by Rhine. (1837-1892) surrounded by members of his extended family and close aristocratic circles🎭
The figures are arranged in two rows: seated in front are women from prominent noble houses, including Princess Agnes of Solms-Hohensolms-Lich and Countess Marianne of Solms-Laubach, both born into the Stolberg-Wernigerode family. Standing behind them Countess Agnes of Ysenburg and Büdingen, Count Karl of Ysenburg, Princess Marie of Erbach-Schönberg (born a Battenberg), and possibly Princess Luitgard of Ysenburg. Some individuals are unknown to me, but believe they are nobles.
🪻Princess Alix of Hesse and by Rhine (number 11), who would later become Tsarina Alexandra Feodorovna of Russia. Her brother, Grand Duke Ernst Ludwig, is also pictured, as well as Prince Henry of Hesse and Count Friedrich of Solms-Laubach.
Source: From the collection of Arcinsys Hesse. HStAD, D 27 B, 2780
Please do not share this image without crediting the archives. These materials come from historical collections, and it’s important to acknowledge their source so the context and authenticity are preserved
Photo taken during a costume event at the Hessian court in 1890🎭.
Among those pictured are Ludwig IV, Grand Duke of Hesse and by Rhine (1837–1892), marked as No. 2; his son Ernst Ludwig (1868–1937, No. 3); and their niece Princess Alix of Hesse and by Rhine (1872–1918, No. 10), who would later become Empress Alexandra Feodorovna of Russia..🪻
Fürst Karl zu Ysenburg-Birstein (No. 1), Freifrau Emma von Ricou (No. 8), and several others whose identities are known to me.
Source: Hessisches Staatsarchiv Darmstadt (HStAD), D 27 B, 2807
Please do not share this image without crediting the archives. These materials come from historical collections, and it’s important to acknowledge their source so the context and authenticity are preserved
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