Catherine the Great: Portrait of a Woman

by Robert K. Massie

Ten days before the funeral, the body of Empress Elizabeth was moved to the Kazan Cathedral, where, in a silver embroidered robe, it was placed in an open coffin, surrounded by candles. A stream of mourners, flowing past the coffin in semidarkness, could not help seeing a veiled figure, draped in black, wearing neither crown nor jewelry, kneeling on the stone floor beside the bier, apparently lost in grief. All knew that this was the new empress, Catherine. Catherine was there in part out of respect but also because she understood that there was no better way to appeal directly to the people than with this demonstration of humility and apparent devotion. Indeed, she played the part so well that the French ambassador reported to Paris that “more and more, she captures the hearts of Russians.” Peter’s behavior in the presence of Elizabeth’s body was in stark contrast. Through the weeks of public mourning, the new emperor acted out his joy at being released from eighteen years of political and cultural imprisonment. Intoxicated by his new freedom, he resisted conforming to the customs of the Orthodox Church regarding death. He refused to stand in respectful vigil or to kneel beside the coffin. On the few occasions he appeared in the cathedral, he paced restlessly, talking loudly, making jokes, laughing, pointing, and even sticking out his tongue at the priests. Most of the time, he remained in his own apartment, drinking and shouting with an excitement he seemed unable to con...