Nicholas and Alexandra (21 page)

Inside, an army of servants in gorgeous livery moved through the polished halls and silken chambers. Equerries in red capes bordered with Imperial eagles, and hats waving long red, yellow and black ostrich plumes, stepped noiselessly on the soft soles of their patent-leather shoes. "Resplendent in snow white garters, the footmen ran before us up the carpeted staircases," wrote one visitor to the Imperial palace. "We passed through drawing rooms, ante-rooms, banqueting rooms, passing from carpets to glittering parquet, then back to carpets. ... At every door stood lackeys petrified in pairs in most varied costumes, according to the room to which they were attached; now the traditional black frock coats, now Polish surcoats, with red shoes and white stockings and gaiters. At one of the doors [stood] two handsome lackeys with . . . crimson scarves on their heads, caught up with tinsel clasps."

Nothing had changed, neither the trappings nor the rhythm of palace life, since the days of Catherine the Great. Court protocol, handed down from a forgotten era, remained as obstinately rigid as a block of granite. In the palace, courtiers backed away from the presence of the sovereigns. No one ever contradicted a member of the Imperial family. It was improper to speak to a member of the family without being spoken to, and when walking with the sovereigns, friends did not greet each other or even notice each other's existence unless an Imperial personage did so first.

Frequently, court protocol almost seemed to conduct itself, taking its own course, making its own decisions, running on its own vast

internal energies of tradition, exclusive of all human management. One day Dr. Botkin, the court physician, was surprised to receive the award of the Grand Cordon of the Order of St. Anna. According to protocol, he asked for a formal audience with the Tsar to thank him for the decoration. As he saw Botkin daily in his capacity as physician, Nicholas was surprised by the request. "Has anything happened that you want to see me officially?" he asked. "No, Sire," said Botkin, "I came only to thank Your Majesty for this." He pointed the the star pinned on his chest. "Congratulations," said Nicholas, smiling. "I had no idea I had given it to you."

Everything at Tsarskoe Selo centered on the Tsar. Outside the palace gates, Tsarskoe Selo was an elegant provincial town dominated by the Hfe and gossip of the court. The mansions of the aristocracy, fining the wide tree-shaded boulevard which led from the railway station to the gates of the Imperial Park, pulsed with the rhythm that emanated from the Imperial household. A week of excited conversation could follow a nod, a smile or a word sent by the sovereign in an unusual direction. Severe crises arose over matters of promotion, decorations and clashing appointments for tea. Invitations to the palace were hoarded like diamonds. No greater delight offered itself than to have the telephone ring and hear one of the deep male voices of the palace telephone operators announce, "You are called from the apartments of Her Imperial Majesty" or, if the caller was one of Her Majesty's daughters, "You are called from the apartments of Their Imperial Highnesses."

The master of court life, the impresario of all court ceremonies, the bestower of all stars and ribbons, the arbitrator of all court disputes, was a Finnish nobleman advanced in years, Count Vladimir Fredericks. In 1897, at the age of sixty, Fredericks became chief minister of the Imperial court; he held the post until 1917, when it ceased to exist. Nicholas and Alexandra were devoted to "the Old Man," as they referred to Fredericks. He, in turn, treated them as his own children and in private addressed them as
"mes enfants."

Fredericks, according to Paléologue, the French Ambassador, was "the very personification of court life. Of all the subjects of the Tsar, none has received more honors and titles. He is Minister of the Imperial court and household, aide-de-camp to the Tsar, cavalry general, member of the Council of Empire. . . . He has passed the whole of his long fife in palaces and ceremonies, in carriages and processions, under gold lace and decorations. . . . He knows all the secrets of the Imperial family. In the Tsar's name he dispenses all the favors and gifts, all the reproofs and punishments. The grand dukes and grand

duchesses overwhelm him with attention for he it is who controls their households, hushes up their scandals and pays their debts. For all the difficulties of his task he is not known to have an enemy, such is the charm of his manner and his tact. He is also one of the handsomest men of his generation, one of the finest horsemen, and his successes with women were past counting. He has kept his lithe figure, his fine drooping mustache, and his charming manners ... he is the ideal type for his office, the supreme arbitrator of the rites and precedences, conventions and traditions, manners and etiquette."

As old age crept over him, Fredericks became ill and his energies sagged. He dozed off in the middle of conferences. He became forgetful. During the war, Prince Bariatinsky arrived at the palace to present the Tsar with the military order of the Cross of St. George. "Fredericks went to announce the Prince to His Majesty," wrote Botkin, "but on his way from one room to the other, forgot what he was supposed to do, and wandered off, leaving the Emperor to wait for the Prince in one room and the Prince to wait for the Emperor in an adjoining room, both bewildered and angry at the delay." Another time, Fredericks approached the Tsar and said, "I say, did His Majesty invite you for dinner tonight?" When Nicholas looked at him in utter bewilderment, Fredericks said, "Oh, I thought you were somebody else."

After Fredericks, Nicholas's favorite among the inhabitants of his court was Prince Vladimir Orlov, Chief of the Tsar's Private Secretariat. A highly cultivated, sarcastic man and a descendant of one of the lovers of Catherine the Great, the Prince was known as "Fat Orlov" because he was so obese that, when sitting, he was unable to see his own knees. Orlov had been a cavalry officer, but in middle age he no longer was able to mount a horse. At parades when the Tsar and the Imperial suite rode by on horseback, Orlov was seen in the middle of the cavalcade, marching along on foot.

Naturally, these courtiers were fervent monarchists,
"plus royaliste que le roi."
The Russia that men like Orlov preferred to see was a land of meek, sentimental, devoutly religious
moujiks,
overwhelmingly loyal to the Tsar. Russia's enemies, they believed, were those who degraded the autocracy—the politicians and parliamentarians as well as the revolutionaries. This view, sounded in Nicholas's ear whenever he would listen, survived defeats in war, revolutionary upheavals, the rise and fall of ministers and Imperial Dumas. Year after year sHpped away, wrote Botkin, and "the enchanted little fairyland of Tsarskoe Selo slumbered peacefully on the brink of an abyss, lulled by the sweet songs of bewhiskered sirens who gently hummed 'God Save the Tsar,' attended church with great regularity . . . and from

time to time asked discreetly when they were going to receive their next grand cordon or advance in rank or raise in salary."

A graceful two-story building in simple classical style, the Alexander Palace at Tsarskoe Selo was made up of a center and two wings. In the central building were clustered the state apartments and formal chambers. The ministers of court and ladies- and gentlemen-in-waiting had apartments in one of the two wings. In the other wing, Nicholas and Alexandra established a world and led a carefully scheduled and domestic existence.

The Empress Alexandra's first command as a bride was that the rooms of this wing be redecorated. Curtains, rugs, upholstering and pillows were done in bright English chintzes and in mauve, her favorite color. On the second floor, the rooms selected as nurseries were cleared of heavy furniture, and simple beds and dressers of lemon-wood were installed, with covers of cheerful English cretonne. Under her direction, the general appearance of the private wing became that of a comfortable English country house.

Mounting guard over the frontier between this private world and the rest of the palace was a gaudily fantastic quartet of bodyguards. Four gigantic Negroes dressed in scarlet trousers, gold-embroidered jackets, curved shoes and white turbans stood guard outside the study where the Tsar was at work, or the boudoir where the Empress was resting. "They were not soldiers," wrote Alexandra's friend Anna Vyrubova, "and had no function except to open and close doors and to signal by a sudden noiseless entrance into a room that one of Their Majesties was about to appear." Although all of these men were referred to at court as Ethiopians, one was an American Negro named Jim Hercules. Originally a servant of Alexander III, Hercules was an employee, bound to the family only by loyalty. He took his vacations in America and brought back jars of guava jelly as presents for the children.

Behind the heavy doors guarded by this flamboyant quartet, the Imperial family lived a punctual existence. In the winter, Tsarskoe Selo lay under a heavy blanket of snow and the sun did not come until nine o'clock. Nicholas rose at seven, dressed by lamplight, had breakfast with his daughters and disappeared into his study to work. Alexandra rarely left her room before noon. Her mornings were spent propped up on pillows in bed or on a chaise-longue, reading and writing long emotional letters to her friends. Unlike Nicholas, who wrote painstakingly and sometimes took hours to compose a letter,

Alexandra wrote voluminously, dashing off lengthy sentences across page after page, punctuating only with dots and dashes and exclamation points. At her feet, while she wrote, lay a small shaggy Scotch terrier named Eira. Most people considered Eira disagreeable; he liked to dart from under tables and nip at heels. Alexandra doted on him and carried him from room to room—even to the dinner table.

Unlike many a royal couple, Nicholas and Alexandra shared the same bed. The bedroom was a large chamber with tall windows opening onto the park. A large double bed made of light-colored wood stood between two windows. Chairs and couches covered in flowered tapestry were scattered about on a thick carpet of mauve pile. To the right of the bed, a door led to a small chapel used by the Empress for her private prayers. Dimly lit by hanging lamps, the room contained only an icon on one wall and a table holding a Bible. Another door led from the bedroom to Alexandra's private bathroom, where a collection of old-fashioned fixtures were set in a dark recess. Primly Victorian, Alexandra insisted that both bath and toilet be covered during the day by cloths.

The most famous room in the palace—for a time the most famous room in Russia—was the Empress's mauve boudoir. Everything in it was mauve: curtains, carpet, pillows; even the furniture was mauve-and-white Hepplewhite. Masses of fresh white and purple lilacs, vases of roses and orchids and bowls of violets perfumed the air. Tables and shelves were cluttered with books, papers and porcelain and enamel knicknacks.* In this room, Alexandra surrounded herself with mementoes of her family and her religion. The walls were covered with icons. Over her chaise-longue hung a picture of the Virgin Mary. A portrait of her mother, Princess Alice, looked down from another wall. On a table in a place of honor stood a large photograph of Queen Victoria. The only portrait in the room other than religious and family pictures was a portrait of Marie Antoinette.

In this cluttered, cozy room, surrounded by her treasured objects, Alexandra felt secure. Here, in the morning, she talked to her daughters, helping them choose their dresses and plan their schedules. It was to this room that Nicholas hurried to sit with his wife, sip tea, read the papers and discuss their children and their empire. They talked to

* Along with religious crosses, icons and images of every description, Alexandra was fascinated by the symbol of the swastika. Its origins buried deep in the past, the swastika has been for thousands of years the symbol of
the
sun, of continuing re-creation and of infinity. Swastikas have been found on relics unearthed at the site of Troy, woven into Inca textiles and scrawled in
the
catacombs of Rome. Only to the generation that grew up after Alexandra's death has the meaning of the swastika been perverted and the symbol transformed
into
a despised emblem of violence, intolerance and terror.

each other in English, although Nicholas and all the children spoke Russian to each other. To Alexandra, Nicholas was always "Nicky." To him, she was "Alix" or "Sunshine" or "Sunny." Sometimes through the rooms of this private wing, a clear, musical whistle like the warbling song of a bird would sound. This was Nicholas's way of summoning his wife. Early in her marriage, Alexandra, hearing the call, would blush red and drop whatever she was doing to hurry to him. Later, as his children grew up, Nicholas used it to call them, and the birdlike whistle became a familiar and regular sound in the Alexander Palace.

Next to the mauve boudoir was the Empress's dressing room, an array of closets for her gowns, shelves for her hats and trays for her jewels. Alexandra had six wardrobe maids, but her modesty severely limited their duties. No one ever saw the Empress Alexandra undressed or in her bath. She bathed herself, and when she was ready to have her hair arranged, she appeared in a Japanese kimono. Often it was Grand Duchess Tatiana who came to comb her mother's hair and pile the long red-gold strands on top of her head. After the Empress was almost dressed, her maids were summoned to fasten buttons and clasp on jewelry. "Only rubies today," the Empress would say, or "Pearls and sapphires with this gown." She preferred pearls to all other jewels, and several ropes of pearls usually cascaded from her neck to her waist.

For daytime, Alexandra wore loose, flowing clothes trimmed at the throat and waist with lace. She considered the famous "hobble skirts" of the Edwardian era a nuisance. "Do you really like this skirt?" she asked Lili Dehn, whose husband was an officer on the Imperial yacht. "Well, Madame,
c'est la mode,"
replied the lady. "It's no use whatever as a skirt," said the Empress. "Now, Lili, prove to me that it is comfortable—run, Lili, run, and let me see how fast you can cover ground in it."