The Charm of Scandinavia

by Francis E. Clark; Sydney Clark

Outside the station, in rows along the platform, I often see old women with baskets of apples or plates of fried meat or cakes, or loaves of coarse bread and bottles of milk, just as we saw them in that long journey across Siberia in the early days of the Trans-Siberian Railway. You remember how eagerly we used to race for the bread and milk stalls to get our supply before the little tables were swept bare by the hungry travelers? In Finland one does not have to be a sprinter in order to get his share of the food, for there is always an abundant supply at the restaurants. The old women on the outside, because of the cheapness of their wares, are largely patronized by the poorer people.

The notices in the stations and in the cars about smoking, spitting, putting your head out of the window, standing on the platform, and so on, are printed in six languages: Finnish, Swedish, Russian, German, French, and English, and the maps and diagrams and time-tables are so full of helpful information that no wayfaring man need go astray.

In one respect the Finnish railways differ from the Swedish, though they are such near neighbors. The Swedish trains glide away like the Arab when he has folded his tents, without making any fuss about it. No bell is rung, no whistle blown, no word of command given. The station master simply waves his hand when the exact second for departure has come, and unless you keep your eyes wide open, and your watch exactly with railway time, you are likely to see the rear car of the train vanishing in the distance while you make frantic but unavailing attempts to catch it. In Finland, on the contrary, there is no danger of your being left, for first the station bell rings, then it rings again, then the conductor blows his whistle, then the engineer answers him with the locomotive whistle, and by that time, everything being good and ready, the train will slowly get under way.

Tammerfors might well be called “Grand Rapids,” a name indeed which is not far from its Finnish significance, for through the center of the city rushes a tremendous stream of water, over rapids that make it swirl and eddy and shoot its spray high in the air. This river Tam affords a splendid water power for the principal manufacturing city in Finland, and is lined with great cotton and woolen mills and paper factories, which rightly give the city the nickname, even among its own inhabitants, of the “Manchester” of Finland.

In size, however, the Finnish Manchester is nearer the New Hampshire than the English Manchester, and its river rushes and tumbles through the city much as the Merrimac throws itself with mighty force against the water wheels of the New England city.

But neither Manchester, New Hampshire, nor Manchester, England, can boast such a remarkable church as the “Manchester” of Finland. Indeed, I doubt if such a church can be found in any one of the five continents. It is a very expensive church, built of solid granite, with enormous pillars that would not be put to the blush by the ruins of Baalbec, or the ancient temple of Sardis. In this church a great Christian Endeavor meeting was held which completely filled the audience room, as has been the case in the other cathedral churches of Finland, and I must say that it was rather a unique experience as I spoke to the living audience to see also a painted audience of naked men and half-clothed women coming out of their graves forming the great altar piece, representing the Resurrection morning.

Around the huge gallery, supported by enormous stone pillars, is a row of naked boys carrying a large garland which completely surrounds the gallery. This garland is supposed to signify the “Burden of Life,” and is composed of roses and thorns. Some of the boys are carrying it lightly, and others are staggering under its weight.

In other parts of the church are two remarkable frescoes, one representing two boys carrying a wounded angel on a kind of litter between them. The angel’s drooping wings, spotted with blood, and her sweet, patient expression contrast strangely with the rugged little Finnish boys who are carrying her. One of them has a resentful expression on his face, as though he were deadly tired of his burden. Did the artist mean to tell us that every boy carries an angel with him, though he often resents her presence and would be glad to get rid of her?

The other mural painting represents the “Garden of Death,” and shows us three grinning skeletons with watering-pots in their hands, sprinkling flowers of various kinds as they wander through their garden. One writer calls this a “perfectly hideous piece of symbolism,” but it did not so strike me. Though unpleasant in some of its features, it is not nearly so hideous as the pictures of the Last Judgment depicted by many of the old masters, and it teaches the worth-while lesson that “life evermore is fed by death.”

This church is characteristic of the new and audacious architecture of Finland. Ernest Young well describes it when he says: “Without a mass of photographs it is difficult to convey to the reader any idea of the curious character of this modern work. One man calls it “hideous”; another “lovely.” The choice of the epithet probably depends on your education, your prejudices, and your ability to seek sympathetically for the meaning of the builder. It falls into no category of known style; hence if you be but of the schools it will probably appal you.”