This article forms a part of an extended work dedicated to the representation of the symbols of power in the decoration for state celebratory and funereal ceremonies in 18th-century Russia. Reflecting the existing academic interest in the role of the Tsar’s regalia in the Russian art of the Imperial period as well as in the Russian festive and ceremonial culture, this line of research remains practically undeveloped in modern studies. The decoration of a city constitutes a unique phenomenon which amalgamates multiple spheres of creativity — from architectural to pyrotechnical — and allows us to explore the selected issues in a broad context, applying a multilevel approach. In 18th-century Russia it was influenced by the realities of Catherine’sreign, which passed under the aegis of the enlightened absolutism. Through the complex analysis of written and graphic sources, the article describes various forms of artistic embodiment of the power regalia in the second half of the 18th century revealing their semantic meaning as part of the written projects for triumphal constructions, fireworks, and illuminations. The comparisons have been drawn with the preceding period aswell as with other forms and genres of art marked by the panegyric style consequently raising some terminological issues. In general, relying on the existing tradition of the city’s ceremonial decoration, the reign of Catherine II expands the representational boundaries of the Tsar’s regalia, showcasing their new functions and meanings adopted in accordance with the development of the state myth of that time. The study of these innovations enriches our perception of the role played by the symbols of power in the national culture of Imperial Russia.