A Treatise on Relics

by Jean Calvin

Kissing constitutes the principal part of the Russian worship of images and relics, and is most liberally bestowed on those objects of adoration, whilst I believe that the Roman Catholic Madonnas maintain a more dignified state, and do not allow such familiarities to their worshippers, unless on some particular occasions or to some privileged persons. The Emperor himself sets the example of this pious osculation, a striking instance of which occurred in the summer of last year, 1853, under circumstances which deserve a particular notice.

I have said above, p. [161], that several millions of the followers of the Greek United Church had [pg 177] been forced by the present emperor to transfer their spiritual allegiance from the Pope to himself. Several of their churches contain miraculous images of the Virgin, of more or less repute, and which were obliged to share the fate of their worshippers, and to become schismatics as much as the latter. Their vested rights have not been, however, injured in any way by this revolution, because they continue to be worshipped, and to work miracles as they did before, or, what is the same thing, they are fully authorised to do so. The Russian government followed on this occasion its usual line of policy, which is to promote those who have joined it, forsaking their former party; and thus one of the most distinguished of these miracle-working converts, the Madonna of Pochayoff, a little town in Wolhynia, was transferred from her provincial station to Warsaw, and placed there in a newly built Russian cathedral, probably with the object of inducing the Roman Catholic inhabitants of that capital to imitate an example set to them in such a high quarter, and to acknowledge the spiritual authority of the Czar as much as they are obliged to submit to his temporal dominion. When the emperor was going last year to Olmutz, in order to persuade the Austrian court to support his policy in Turkey, he passed through Warsaw, and repairing, immediately after his arrival in that city, to the Russian cathedral, kissed the above-mentioned miraculous [pg 178] image of the Madonna of Pochayoff with such fervour that it produced quite a sensation upon all those who were present, and was noticed in the newspapers as a proof of the autocrat's piety. Yet whether this Madonna, notwithstanding her outward conversion to the Græco-Russian Church, remains a Romanist at heart, or whether, for some other reason, she could or would not support the views of her imperial worshipper, the result of the Czar's voyage to Olmutz proved that the caresses which he had bestowed upon the Madonna in question were love's labours lost. It may be also observed, that the emperor himself seems not to have been quite sure of the effects of his pious addresses to the now schismatic Madonna of Pochayoff, because it is well known that this man, who, as I have said above, p. 161, had torn from the spiritual authority of the Pope, by a violent persecution, many millions of souls, knelt during his visit to Olmutz, with all the marks of deep devotion, at a Roman Catholic high mass; whilst the Prince of Prussia, who was also present on that occasion, stood by without taking a hypocritical part in a worship which was contrary to his religion.

This image-kissing propensity of the Russians was the cause of a tragical event during the plague at Moscow in 1771. It usually happens during a public calamity that rumours of a wild and absurd nature are circulated amongst the ignorant part of [pg 179] the population, and it was thus that, when the pestilence was raging in the above-mentioned capital, a report was spread that an image of the Virgin, placed at the entrance of a church, had the power of preventing infection. Thousands of people repaired to the miraculous image, and endless processions were wending along the streets towards the same object of adoration, which was overloaded with rich offerings by its worshippers, and adorned with costly jewels. As was to be expected, this superstitious practice, instead of preventing the infection, powerfully contributed to its increase; because the kisses which the crowd lavishly bestowed on the miraculous image could not but propagate the disease. The Archbishop of Moscow, Ambrose, an enlightened prelate, in order to stop this mischief, removed the image from the place where it had been exposed into the interior of the church; but this wise measure produced a violent riot, and an infuriated mob rushed into the sanctuary and murdered the venerable old man at the foot of the altar, where he was officiating, dressed in his pontificals.

It is probably the same image of which Bodenstedt, whose account of the Russian Church I have quoted above, p. [169], relates the following anecdote. After having spoken of the usurpations of Russia beyond the Caucasus, under pretence of protecting the Christian population of those parts, he says:—

“The Russian policy, which conceals its grasping [pg 180] claws under the cloak of religion, may be not inaptly compared to a lady well known at Moscow, who, to the great edification of the bystanders, kissed the miraculous Madonna, situated close to the Kremlin, with so much fervour, that the most costly diamond of the jewels with which this image is covered remained in her mouth.” And he adds, in a note, “The thing was afterwards discovered, and the writer of this was himself present when this lady, the wife of a Russian general, was obliged publicly to crave the forgiveness of the image for this act of desecration. It is said that when this noble lady was judicially examined about this affair, she pleaded in her defence that having loved and worshipped the image in question devoutly during many years, she believed herself entitled to a little souvenir from the Madonna.”[110] The Russian lady of rank seems not to have been so ingenious as the Prussian soldier, whose story I have related on p. [118]. And it must be remarked that the Russian images expose their worshippers to the temptations of mammon much more than the Roman Catholic ones; because, whilst the latter are often valuable as objects of art, the former have usually silver or golden garments, often set with precious stones, which entirely cover the painting except the face, generally by no means a model of beauty. The gifts which the Russians bestow on their images are immense, and the most [pg 181] celebrated place for the accumulation of such treasures is the convent of Troitza, or Trinity, situated about fifty English miles from Moscow, and considered as a kind of national sanctuary of Russia.[111] Baron Haxthausen, whom I have quoted on p. [173], says that the value of sacred vases and ornaments accumulated in that place surpasses all that may be seen of this kind any where else, without even excepting Rome and Loretto; and he thinks that the quantity of pearls contained in those ornaments is perhaps greater than is to be found in the whole of Europe.[112]

The grave of St Sergius, the founder of that convent in the fourteenth century, is adorned with gold and precious stones, and the silver canopy over it is said to weigh 1200 pounds. The most remarkable object contained in that convent is, however, the image of that saint which accompanied Peter the Great during all his campaigns, and on which are inscribed the names of all the battles and stormings of towns at which it had been present. I do not know whether this image had a part in other expeditions of the Russian army, but I have read this year in the newspapers that when a division of grenadiers was passing through Moscow, on their way to Turkey, the Archbishop of that capital addressed them, firing their zeal for the religious war in which they [pg 182] were going to take part, and after having blessed them with the image of St Sergius, the same to which I alluded above, gave it them as a companion of their expedition. The allied troops must therefore be prepared to encounter that bellicose saint somewhere on the Danube, unless he has been ordered to the shores of the Baltic for the defence of the capital. The custom of taking with them images considered as miraculous, during a campaign, was followed by the generals of the Greek empire on many occasions. Thus it is related by a Byzantine writer,[113] that in 590 Philippicus, a general of the Emperor Mauritius, when going to engage the Persians in battle, took an image which was not made by the hands of man, and carried it about the ranks of his army, in order to purify his soldiers, and that he gained, after this ceremony, a complete victory. It must, however, be remarked that when Philippicus was replaced by another general, called Priscus, the latter, relying too much on the protection of the image which was not made by the hands of man, diminished the rations of the soldiers, and gave them other causes of offence; they revolted, and when Priscus, in order to subdue the riot, paraded the image in question, the mutineers threw stones at it. I don't know exactly how this business ended, but it is said that the Greek generals usually liked to have an image of the kind alluded to, in order to appease [pg 183] their troops in cases of mutiny and discontent; and I believe that, considering the gross ignorance and superstition of the Russian soldiers, the image of St Sergius may do good service in similar cases, and for which these soldiers have but too many reasons. The Greek emperors also sometimes provided with miraculous images the ambassadors who were sent on important missions. I don't know whether the Russian diplomacy, which has performed so many wonders, has ever had recourse to the assistance of such images, or to that of any supernatural agency.

The miraculous images of the Græco-Russian Church are generally considered as not made by the hands of man, whilst those of the Roman Catholic Church are usually believed to be painted by St Luke. The most celebrated Madonnas of Russia, as those of Kazan, Korennaya, Akhtyrka, &c., are believed to have dropt from heaven, in the same manner as the Diana of Ephesus, and other Greek idols of repute. They are called yavlenneeye icony, i.e., revealed images, and their number is considerable, though all of them do not enjoy an equal reputation for miraculous powers. The number of images of various descriptions is, I think, much greater in Russia than in any other country, and they are called by the common people, not images, icony, but gods, boghi; and many of their worshippers are so ignorant, that they take every kind of picture or [pg 184] engraving for the boghi, and devoutly cross themselves before them. A German officer of engineers, in the Russian service, related to the author that he had a Russian servant, a young lad of a very devout disposition, who pasted every engraving which he could lay hold on, upon the wall over his bed, in order to address his prayers to them. This officer once missed some plates, containing mathematical figures, which had dropt from a book of geometry, and he found afterwards that his pious servant, having picked them up, gave them a place in his pantheon. If this strange divinity had been found amongst the objects worshipped by that poor lad by some very profound foreign traveller, unacquainted with the Russian people, it is more than probable that he would have taken it for a mystical object of adoration, and written a learned dissertation to explain its emblematic sense.

Every household in Russia has its own little sanctuary, consisting of one or more images, ornamented according to the means of the owner, and placed in a corner opposite to the principal door. Every one who enters the room makes a sign of the cross, bowing to these penates, the place under whose shrine is considered as the seat of honour, reserved at meals for the father of the family, or the most respected guest.

The Russians are great exclusives in respect to their images, and every believer has at least one of [pg 185] them stuck on the wall near his sleeping place, for his especial use and comfort; whilst people who are continually moving about, as carriers, pedlars, soldiers, &c., have their pocket divinities with them; and the description of the devotional exercises of a Russian soldier, given on p. [171], is by no means a caricature. This exclusiveness was much greater before the reforms introduced by the Patriarch Nicon in the seventeenth century than it is at present.[114] Contemporary travellers relate that people brought into the churches their own images, trying to get for them on the walls of the church the place which they considered the best; and thus it often happened that these images, being placed opposite to the altar, people in praying to them turned their backs to the officiating priest, which generally produced great confusion, and disturbed the performance of divine service. There was a very great competition amongst those people in ornamenting their images as showily as possible; and as the sanctity of an image was increased, according to the opinion of those baptised idolaters, in proportion to the richness of its ornaments, it often happened [pg 186] that a poor man, who could not afford to trim up smartly his own image, addressed his prayers to that of his richer neighbour. Such an adoration, however, was considered as contraband; and when the lawful owner of the image caught one of those pious interlopers, he not only sharply rebuked him, but frequently gave him a sound thrashing, saying that he did not go to the expense of decorating his image that another should obtain its favours.[115]

Scandalous scenes of this description have been abolished in the established church by the reforms of the Patriarch Nicon, alluded to above, but something very like it may still be witnessed in the churches of the Raskolniks, who have separated from the established church on account of those reforms. These people often bring their own images to the churches to pray before them, and it frequently happens amongst the boys who worship in this way, that some of them, perceiving that their neighbour has a finer image than their own, they steal it from him, substituting that which belongs to them. This produces quarrels and fighting amongst these boys, who reproach one another, saying, You So-and-so, you have stolen my fine image which cost my father two roubles, and left me this wretched one, which is not worth fifty copecs, i.e., half a rouble. These scenes [pg 187] would be ludicrous if they were not positively blasphemous, because these images are called on such occasions, as is always done, by the name of gods, boghi.