empress consort


Five last Russian Empresses and their nicknames

  • Empress Elizaveta Alexeievna, consort of Alexander I - “Elise”
  • Empress Alexandra Fyodorovna, consort of Nicholas I - “Mouffy”
  • Empress Maria Alexandrovna, consort of Alexander II - “Masha”
  • Empress Maria Fyodorovna, consort of Alexander III - “Minnie”
  • Empress Alexandra Fyodorovna, consort of Nicholas II - “Sunny”
  1. The guests before the wedding in the Malachite chamber of the Winter Palace. 
  2. Alexandra Feodorovna (Princess Alix of Hesse), the imperial bride, arrives at the Winter Palace to marry Emperor Nicholas II. She is accompanied by the widowed Empress, the consort of the later Emperor Alexander III. 
  3. The procession going to the chapel in the Winter Palace to watch the wedding cerimony of Tsar Nicholas II and Alexandra Feodorovna.
  4. Picture showing the ceremony in the chapel of the Winter Palace. 
  5. The bride and groom are crowned during the marriage ceremony in the Winter Palace. 
  6. The symbolic rite of ‘matrimonial coronation’ being performed at the wedding of the Tsar to the Princess of Hesse.
  7. In this picture, the bride is shown receiving holy water in the Church of St. Peter and St. Paul after the cerimony.
  8. The newly married Empress kissing the sacred Ikon of the Virgin Mary in the Kazan Cathedral. 
  9. Picture showing the bride and groom leaving the chapel.
  10. Crowds line the streets as the Emperor and Empress pass through the Grand Morskaia after their wedding.

“The New Empress’ Consort”.

A commission. ‘Some sort of AU where Fef becomes empress and Rose is there and they’re in love.’

I’m always down to draw femslash. I liked the idea of Feferi having a room in her palace built with big windows and air to breathe so Rose can see out into the ocean. How that works scientifically, I have no clue. It’s like a reverse aquarium. I’m an artist, not an architect.

Speedcolor: https://youtu.be/P264ii9jVEI

Do not remove source, do not use without permission unless you are the commissioner.


Corona Imperial de Francia
Imperial Crown of France

Corona Imperial de Napoleón III de Francia (1852-1871) (Réplica)
Imperial Crown of Napoleon III of France (1852-1871) (Replica)

Corona de la Emperatriz consorte Eugenia de Francia (1855)
Crown of the Empress consort Eugénie of France (1855)

Corona Imperial de Napoleón I de Francia (“Corona de Carlomagno”) (1804)
Imperial Crown of Napoleon I of France (“Crown of Charlemagne”) (1804)

Empress Menen Asfaw, wife of Haile Selassie I, and princesses of Ethiopia, c. early 1930s. The women standing behind Empress Menen are, from left to right, Princess Tsehai, Princess Tenagnework, and Princess Zenebework (her daughters) and Princess Wolete Israel Seyoum (her daughter-in-law).


Empress Elizaveta Alexeievna, consort of Emperor Alexander I. 

According to many she was heart-stoppingly beautiful, immensely graceful and elegant. She was intellectual, generous and cultured, but also very shy and withdrawn, which became one of the reasons she never played a prominent role at the imperial court and failed to endear herself to her subjects. Behind the hesitant exterior, however, there was much love and passion in Elizaveta. Her husband neglected her and so she, starved for love, engaged in several love affairs. And yet her devotion to Alexander never wavered and even in the time of greatest grief she would offer him support and comfort.

Elizaveta, in spite of what we know about her, remains veiled in obscurity. Shocked by her behaviour and extra-marital relationships, her brother-in-law, Emperor Nicholas I, ordered many of her letters and diaries burned, thus preventing the future generations from ever truly knowing the beautiful and sad Empress.

Empress Alexandra Feodorovna’s Maid of Honor cypher → In the form of the Cyrillic initial ‘A’ for the Empress Alexandra Feodorovna (consort of Nicholas I), set with rose-cut diamonds mounted in silver-topped gold, surmounted by a hinged rose-cut diamond-set Imperial crown, unmarked, numbered III, with the original pale blue moiré silk ribbon.


Romanov Birthdays → Empress Maria Feodorovna of Russia, October 25

Maria Feodorovna (25 October 1759 – 5 November 1828) was the second wife of Tsar Paul I of Russia and mother of Tsar Alexander I and Tsar Nicholas I of Russia.

Maria Feodorovna was tall, fair, fresh, extremely shortsighted and inclined to be stout. Her carriage was indisputably regal, and she loved the pomp and ceremony associated with court life. She also had a taste for splendor and a passionate interest in small court intrigues. Particularly tenacious of her rank, she was prepared to spend the whole day from morning until night in full dress without respite or fatigue, implacably imposing the same burden on all her entourage, and was ruled by etiquette in the most intimate details of her domestic life. She loved order and regularity. Unlike the Romanovs, she was frugal, a rare virtue in a princess of that time, but she came from a large family that for a long time was only a minor branch of the house of Württemberg.

Her even temper and her patience were instrumental in knowing how to deal with a difficult husband and make a success of her marriage. Her parsimony was such that as a new Grand Duchess, she did not hesitate to take over the clothes of her husband’s first wife and to dispute with the lady’s maids the very slippers of the defunct Natalia.

Maria cultivated the arts with great enthusiasm, not disdaining even needlework. She was skilled in watercolor, she also knew engraving, designed cameos, and created objects of ivory and amber, which she often presented as gifts. She was a gifted musician, and was a renowned specialist in horticulture, with a lifelong passion for flowers and plants. At Pavlovsk she gathered a literary circle in imitation of that of Étupes, and she organized theatricals for her husband, who delighted in that amusement. In addition to all this, she found time to devote energies to the great charities and educational institutions. She established the institute for the blind in Saint Petersburg, and supported the career of the blind musician Charlotta Seuerling, whose mother she saved from ruin. Serious and purposeful, she prided herself in being more clever than her mother-in-law, never losing an opportunity of contrasting her own impeccable virtue with her mother-in-law’s failings. She was equally watchful to attack Catherine’s favorites, Grigori Alexandrovich Potemkin and Alexander Dmitriev-Mamonov.

Clever, talented, purposeful and energetic, Maria Feodorovna would make a nearly perfect Imperial wife, and Paul for many years would be a model husband deeply in love with the woman he married.


Ileana of Romania was once considered to be a potential wife for the last Tsarevich of Russia, Alexei Nikolaevich, and the next possible Empress consort of Russia. Shortly before the First World War in mid-June of 1914, five-year-old Ileana met the nine-year-old Alexei during the Romanov family’s official state visit to Constanta. In her memoirs Ileana writes that the Tsarevich proposed to her, saying, “Someday I will come back and marry you”.


Consort Shu (淑妃) of Emperor Puyi (溥儀) was one of the three wives of Puyi and the only one who divorced Puyi after 9 years of marriage. She was commonly known by her name Wenxiu (文繡), the arch enemy of Empress Wanrong (婉容) even though Puyi had never favored Wenxiu. In 1931 she divorced Emperor Puyi and became a commoner. In her final days, she worked as a teacher in a school she established until she died in 1953 at age 43.

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have Yao with one of his most famous bosses, Wu Zetian- because i’ve been seeing a lot of pictures from the Empress of China drama series, I really wanted to draw Tang dynasty garb. She entered the imperial court as a concubine, and then eventually rose to the apex of Chinese power- she was the only woman to rule as an emperor in her own right in Chinese history, and she greatly expanded the Tang empire too via military campaigns. 

I did think Yao might be a tad scared of her because she was really ruthless-but then again, maybe all the more they’d get along well- with her ambitious personality and savviness- considering how expansionist and influential China was during the Tang dynasty. She wouldn’t formally seize power until later in life, but she began influencing imperial governance long before that, as empress consort to Emperor Gaozhong.

Dona Maria Leopoldina of Austria was an archduchess of Austria, Empress consort of Brazil and Queen consort of Portugal. Maria Leopoldina became Brazil’s first empress consort. She also played an important role in the process of issuing a Declaration of Independence. // Letícia Colin as Maria Leopoldina in “Novo Mundo

Wu Zetian (Wu Tse-t'ian; simplified Chinese: 武则天; tradizional Chinese: 武則天; pinyin: Wǔ Zétiān) (February 17, 624 – December 16, 705), also known as Wu Zhao (Wu Chao; Chinese: 武曌; pinyin: Wǔ Zhào) or Wu Hou (Chinese: 武后; pinyin: Wǔ Hòu) during the Tang dynasty as Tian Hou (天后), and in English as Empress Consort Wu, or by the deprecated term, “Empress Wu”, was a Chinese sovereign, who ruled officially under the name of her self-proclaimed “Zhou dynasty”, from 690 to 705. She was the only female emperor of China in more than four millennia. She had previous imperial positions, however, under both Emperor Taizong of Tang and his son Emperor Gaozong of Tang, of the Tang dynasty of China. Wu was a concubine of Emperor Taizong. After his death she married his successor and ninth son, Emperor Gaozong, officially becoming Gaozong’s furen (variously translated as “empress”, “wife”, or “first consort”) in 655, although having considerable political power prior to this. After Gaozong’s debilitating stroke in 690, Wu Zetian ruled as effective sovereign until 705. She is the only recorded woman to rule China in her own right.

The importance to history of Wu Zetian’s period of political and military leadership includes the major expansion of the Chinese empire, extending it far beyond its previous territorial limits, deep into Central Asia, and the completion of the conquest of the upper Korean Peninsula.

Within China, besides the more direct consequences of her struggle to gain and maintain supreme power, Wu’s leadership resulted in important effects regarding social class in Chinese society and in relation to state support for Taoism, Buddhism, education, and literature. Wu Zetian also had a monumental impact upon the statuary of the Longmen Grottoes and the “Wordless Stele” at the Qianling Mausoleum, as well as the construction of some major buildings and bronze castings that no longer survive.

Despite these important aspects of her reign, together with the suggestions of modern scholarship as to the long-term effects of some of her innovations in governance, much of the attention to Wu Zetian has been to her gender, as the anomalous supreme sovereign of a unified Chinese empire, holding during part of her life the title of Huangdi among the line of male rulers.

Besides her career as a political leader, Wu Zetian also had an active family life. Although family relationships sometimes became problematic, Wu Zetian was the mother of three sons who served stints as emperor. One of her grandsons became the famous emperor Xuanzong of the restored Tang dynasty, ruling during its “Golden Age”.