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  1. Irina Feodorovna Godunova (Russian: Ирина Фёдоровна Годунова, romanized: Irina Fyodorovna Godunova; 1557 – 29 October 1603), also known by her monastic name Alexandra (Александра), was the tsaritsa consort of all Russia by marriage to Feodor I from 1584 until his death on 17 January [O.S. 7 January] 1598.

  2. May 13, 2015 · 1. 204 views 8 years ago. Irina Feodorovna Godunova later Alexandra (1557–1603) was the wife of Tsar Feodor I Ivanovich (r. 1584–1598) and the sister of Tsar Boris Godunov (r. 1598–1605 ...

  3. Nov 3, 2023 · Alexandra Feodorovna (Irina) Godunova (1557–1603) was the wife of Tsar Feodor I Ivanovich (r. 1584-1589) and the sister of Tsar Boris Godunov (r. 1589-1605). The precise dates of some of the events in Irina's life are uncertain; most sources indicate that she was picked by Ivan the Terrible to be the wife of the tsarevich Fedor in 1580 or ...

  4. In 1580, the Tsar chose Boris Godunov's sister Irina Godunova (1557–1603) to be the wife of his second son and eventual heir, Feodor Ivanovich (1557–1598). On this occasion, Godunov was promoted to the rank of boyar. On 15 November 1581, Godunov was present when the Tsar murdered his own eldest son, the crown prince Ivan. Godunov tried to ...

  5. In 1580, Feodor married Irina (Alexandra) Feodorovna Godunova (1557 – 26 October/23 November 1603), sister of Ivan's minister, Boris Godunov. Although the marriage was arranged by the Tsar and the couple knew nothing of each other before their wedding day, they went on to have a strong marriage.

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  7. Irina Feodorovna Godunova (Russian: Ирина Фёдоровна Годунова, romanized: Irina Fyodorovna Godunova; 1557 – 29 October 1603), also known by her monastic name Alexandra (Александра), was the tsaritsa consort of all Russia by marriage to Feodor I from 1584 until his death on 17 January [O.S. 7 January] 1598. As ...

  8. political identity. Especially important is Irina Godunova, who was the effective ruler throughout the reign of her weak husband Fedor Ivanovich. The lavishly decorated Golden Palace of the Tsaritsy, with its programmatic use of images of strong Byzantine and Georgian women rulers, set the stage both literally and figuratively for

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