Nicholas and Alexandra by Robert K. Massie

Appropriately, he avoided that citadel of representative government, the Houses of Parliament.
    Nicholas was immediately taken with Princess Mary. "May is delightful and much better looking than her photographs," he wrote. As for his cousin George, Nicholas and the bridegroom looked so much alike that even people who knew them well confused one with the other. George was shorter and slimmer than Nicholas, his face was thinner and his eyes somewhat more protuberant, but both parted their hair in the middle and wore similar Van Dyke beards. Standing side by side, they looked like brothers and almost like twins. Several times during the ceremonies, the resemblance caused embarrassment. At a garden party, Nicholas was taken for George and warmly congratulated, while George was asked whether he had come to London only to attend the wedding or whether he had other business to transact. The day before the wedding, George, mistaken for Nicholas, was
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    begged by one gentleman of the court not to be late for the ceremony.
    After the wedding, Nicholas visited Windsor Castle and had lunch with Queen Victoria. "She was very friendly, talked a lot, and gave me the Order of the Garter," he reported. He went to a ball at Buckingham Palace and, knowing his mother would be pleased, told her, "I danced a lot . . . but didn't see many beautiful ladies."
    In St. Petersburg, meanwhile, little Kschessinska's career as a dancer was gathering momentum. Already, at nineteen, she was dancing such roles as the Sugar Plum Fairy in Tchaikovsky's Nutcracker and Princess Aurora in Sleeping Beauty. Tchaikovsky himself came to her rehearsals and accompanied the dancers on the piano. Once after Mathilde had danced Princess Aurora, the composer came to her dressing room especially to congratulate her. In later years Mathilde Kschessinska would rank with Anna Pavlova and Tamara Karsavina among the great ballerinas of pre-revolutionary Russia.
    There were those, of course, who ascribed Mathilde's early success primarily to her connection with the Tsarevich. Not that society regarded the liaison on either side with moral disdain. For the Russian aristocracy, ballet was a supreme art and the mingling of great titles and pretty ankles was a common thing. Many a deep-bosomed young dancer in the back row of the Imperial Ballet left the Maryinsky Theatre pulling her cloak about her shoulders, gathered her skirts and stepped into the plush velvet interior of a waiting coach to be whirled away to a private supper in one of the city's elegant palaces.
    Despite Mathilde's success on the stage, the flame between her and Nicholas began to flicker. Nicholas had never hidden from Kschessinska his interest in Princess Alix. Early in 1894, he told Mathilde that he hoped to make Alix his fiancée. Later that year, Nicholas and Mathilde parted, saying goodbye at a highway rendezvous, she seated in her carriage, he astride a horse. When he rode away, she wept. For months, she went through "the terrible boundless suffering ... of losing my Niki." The great ballet master Marius Petipa consoled her by persuading her that suffering in love is necessary to art, especially to the great stage roles to which she aspired. "I was not alone in my grief and trouble. . . . The [younger] Grand Duke Serge ... remained with me to console and protect me." Serge bought her a dacha with a garden by the sea. Later, at the height of her success, she met Grand Duke Andrei, another cousin of the Tsar. Although Andrei was seven years her junior, they traveled together on holidays to Biarritz and Venice. In 1902, Mathilde and Andrei had a son, and in 1921, in Cannes, they married.
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    CHAPTER THREE
    Princess Alix
    My dream is some day to marry Alix H. I have loved her a long while and still deeper and stronger since 1889 when she spent six weeks in St. Petersburg. For a long time, I resisted my feeling that my dearest dream will come true."
    When Nicholas made this entry in his diary in 1892, he had