Royal sponsorship of the theater soon followed. To please his young bride, the Tsar began to patronize play writing and ordered construction of a stage and a hall in the former house of a boyar inside the Kremlin and another at the summer retreat of Preobrazhenskoe. The Lutheran pastor in the German Suburb, Johannes Gregory, wast asked by Matveev to recruit actors and produce plays. On October 17, 1672, the first production, a Biblical drama, was ready. It was presented in the presence of Tsar and Tsaritsa with a cast of sixty, all of whom were foreigners except a few boys and young men from the court. The play lasted all day and the Tsar watched the performance for ten hours straight without rising from his seat. Four additional plays and two ballets soon followed.
Alexis' delight in his new Tsaritsa increased even more when, in the fall of 1671, he learned that she was pregnant. Both father and mother prayed for a son, and on May 30, 1672, at one o'clock in the morning, she delivered a large, apparently health boy. The child was named Peter after the apostle. Along with good health, his mother's black, vaguely Tatar eyes, and a tuft of auburn hair, the royal infant entered the world at normal size. In accordance with the old Russian custom of 'taking the measure,' an image of Peter's patron saint was painted on a board of exactly the same dimensions as the infant, and the resultant image of St. Peter with the Holy Trinity measures nineteen and a quarter inches long and five and a quarter inches wide.
Moscow rejoiced when the booming of the great bell in the Tower of Ivan the Great on the Kremlin square announced the birth of this new Tsarevich. Messengers galloped to carry the news to other Russian towns, and special ambassadors were dispatched to Europe. From the white ramparts of the Kremlin, cannon thundered in salute for three days, while the bells of the city's 1,600 churches pealed continuously.
Alexis was overjoyed with his new son, and personally arranged every detail of a service of public thanksgiving in the Assumption Cathedral. Afterward, Alexis raised Kyril Naryshkin, Natalya's father, and Matveev, her foster father, in rank, and then himself handed vodka and wines from trays to his guests.
The baby Peter, four weeks old, was christened on June 29, the holy day of St. Peter in the Orthodox calendar. Wheeled into church in a rolling cradle along a path sprinkled with holy water, the child was held over the font by Fedor Naryshkin, the Tsaritsa's eldest brother, and christened by Alexis' private confessor. The following day, a royal banquet was offered to delegations of boyars, merchants and other citizens of Moscow who thronged to the Kremlin with congratulatory gifts. The tables were decorated with enormous blocks of sugar sculpted into larger-than-life statues of eagles, swans and other birds. There was even an intricate sugar model of the Kremlin, with figures of tiny people coming and going. In her private apartments above the banqueting halls, the Tsaritsa Natalya gave a separate reception to the wives and daughters of the boyars, handing plates of sweets to her guests on their departure.
Soon afterward, the subject of all this celebration, surrounded by his own small, private household staff, was moved into his suite of rooms. He had a governess, a wet nurse—'a good and clean woman with sweet and healthy milk'—and a staff of dwarfs especially trained to act as servants and playmates to the royal children. When Peter was two, he and his retinue, now grown to include fourteen attending gentlewomen, moved into a grander Kremlin apartment—the walls hung with deep red fabrics, the furniture upholstered in crimson and embroidered with threads of gold and bright blue. Peter's clothes—miniature caftans, shirts, vests, stockings and caps—were cut from silk, satin and velvet, embroidered with silver and gold, buttoned and tasseled with sewn clusters of pearls and emeralds.
A doting mother, a proud father and a pleased Matveev competed to lavish gifts on the child, and Peter's nursery soon overflowed with elaborate models and toys. In one corner stood a carved wooden horse with a leather saddle studded with silver nails and a bridle decorated with emeralds. On a table near the window rested an illuminated picture book, painstakingly made for him by six icon painters. Music boxes and a small, elegant clavichord with copper strings were brought from Germany. But Peter's favorite toys and his earliest games were military. He liked to bang on cymbals and drums. Toy soldiers and forts, model pikes, swords, arquebuses and pistols spread across his tables and chairs and floor. Next to his bed, Peter kept his most precious toy, given to him by Matveev, who had bought it from a foreigner: a model of a boat.
Intelligent, active and noisy, Peter grew rapidly. Most children walk at around one year; Peter walked at seven months. His father liked taking this healthy little Tsarevich with him on excursions around Moscow and to the royal villas outside the capital. Sometimes he went to Preobrazhenskoe, the informal retreat where Matveev had built a summer theater; this quiet place on the banks of the Yauza River beyond the German Suburb was Natalya's favorite. But more often he was taken to the architectural marvel of Alexis' reign, the huge palace at Kolomenskoe.
This immense building, constructed entirely of wood, was regarded by Russian contemporaries as the Eighth Wonder of the World. Standing on a bluff overlooking a bend in the Moscow River, it was an exotic jumble of shingled onion domes, tent roofs, steep pyramidal towers, horseshoe arches, vestibules, latticed stairways, balconies and porches, arcades, courtyards and gateways. A separate three-storied building, with two peaked towers, served as the private apartment of Peter and his half-brother Ivan. Although from the outside it seemed a crazy quilt of old Russian architecture, the palace had many modern features. There were baths not only for members of the family, but also for the servants (the palace of Versailles, constructed at roughly the same time, was built without either baths or toilets). The wooden walls of the Kolomenskoe palace were pierced by 3,000 mica-paned windows, and light streamed in on 270 rooms decorated in modern, secular style. Brightly painted scenes decorated the ceilings, mirrors and velvet drapes hung on the walls, interspersed with portraits of Julius Caesar and Alexander the Great. The silver throne, studded with gems, on which Alexis received his visitors was flanked by two giant bronze lions. When the Tsar pushed a lever, the eyes of these mechanical beasts would roll, their jaws would open, and from their throats came a hoarse, brassy roar.*
Natalya preferred the less formal daily routine in these suburban palaces to that in the Kremlin. Hating the stuffy air of the Tsaritsa's closed carnage, she raised its curtains—in public—and was soon riding to and from the country, and once even in a state procession, in an uncovered carriage with her husband and child. Because it was easier for her to watch, Alexis received foreign ambassadors at Kolomenskoe rather than at the Kremlin. In 1675, the procession of the arriving Austrian ambassador was deliberately slowed as it passed the window where the Tsaritsa sat, so that she might have more time to observe. This same diplomat, waiting to be presented to the Tsar, caught a glimpse of Peter: 'The door opened suddenly and Peter, three years old, a curly-headed boy, was seen for a moment holding his mother's hand.'
Later that year, Peter was regularly seen in public. Alexis had ordered several of the large, gilded court carriages used by other contemporary European monarchs. Matveev, knowing exactly how to please, thereupon ordered a miniature copy of one of these carriages and presented it to Peter. This tiny coach, 'inset with gold ornament, drawn by four dwarf ponies, with four dwarfs riding at the side and another dwarf behind,' became a favorite sight on state occasions.
Alexis had five years with Natalya Naryshkina. A second child, named Natalya after her mother, was born and lived; a third child, again a daughter, was born and died. At court, the effect of the marriage had been strongly felt. The austere, painfully religious quality of Alexis' earlier years gave way to a new, more relaxed spirit, a greater readiness to accept Western ideas, entertainments and techniques. But the greatest effect was on the Tsar himself.
*In 1771, exactly 100 years after it was built, the great wooden palace was torn down by Catherine the Great.
Marriage to this young wife revived and delighted him. The last years of his life were the happiest.
Suddenly, when Peter was only three and a half, the serenity of his nursery life was shattered. On Epiphany in January 1676, Tsar Alexis, at forty-seven, healthy and active, took part in the annual ceremony of the blessing of the waters of the Moscow River. Standing in the frozen winter air during the long ceremony, he caught a chill. A few days later, in the middle of the performance of a play, the Tsar left die Kremlin theater and went to bed. At first, the illness did not seem dangerous. Nevertheless, it grew steadily worse, and after ten days, on February 8, Tsar Alexis died.
At a stroke, Peter's world changed. He had been the adored small son of a father who doted on his mother; now he was the potentially troublesome offspring of his dead father's second wife. The successor to the throne was fifteen-year-old Fedor, the semi-invalid eldest surviving son of Maria Miloslavskaya. Although Fedor had never been well, in 1674 Alexis had formally declared him to be of age, recognized him as heir and presented him as such to his subjects and the foreign ambassadors. At that time, it had seemed only a formality; Fedor's health was so delicate and Alexis' so good that few thought the delicate son would live to succeed the robust father.
But now it had happened: Fedor was Tsar, and the great pendulum of power had swung back again from
