Russia, as Seen and Described by Famous Writers

by Unknown

The iconostas is in all cases decorated with a large number of holy pictures or icons, arranged in formal rows one above the other. It is a solid erection from side to side, from floor to roof, and in the centre are the royal doors, through which none may pass but the consecrating priest, or the emperor: and the last once only, at the time of his coronation. At no time is any woman permitted to enter the sanctuary.

The iconostas contains sometimes as many as seven rows of images: that of the Uspenski Sobor[1] has five. Their arrangement is guided by certain rules and restrictions. Our Lord and the blessed Virgin must be represented on each side of the royal doors, and on the doors themselves the Annunciation and the four evangelists. On the side doors angels must be represented. Above must be the usual symbol of the Trinity figured by Abraham entertaining the three angels.

[Footnote 1: Cathedral of the Assumption, Moscow.]

The whole of the space behind the screen is known as the altar. The altar itself is square, or rather a double cube. Above it four small columns with a canopy form a baldachino; and the cross is laid flat upon it. Here also is placed the tabernacle or zion which is often an architectural structure in pure gold with figures. There are five zions of this kind in the cathedrals of St. Sophia at Novgorod and at the Troitsa monastery.

In the apse behind the altar and facing it is the thronos, the seat of the archbishop, with seats for priests on either side.

Besides the icons and holy pictures on the screen (and in the Cathedral of the Assumption the latter contains the most highly venerated in Russia) other smaller icons are set apart in various parts of the church. As is now the custom, though it is comparatively a recent one, the greater part of the picture, with the exception of the faces, hands and feet, is covered with an embossed and chased plaque in gold or silver-gilt representing the form and garments. Glories or nimbuses in high relief set thick with gems surround the faces, and sparkle as they reflect the light from the multitude of candles burnt in their honour. Some are covered to overloading with jewels, necklets, and bracelets; pearls, diamonds, and rubies of large size and value adorning them in profusion.

The ceremonial of the Greek church is excessively complex, and the symbolical meanings by which it represents the dogmas of religion are everywhere made the subjects of minute observance. During the greater part of the mass the royal doors are closed: the deacons remain for the most part without, now and again entering for a short time. From time to time a pope or popes pass throughout the church, amongst the crowds, incensing all the holy pictures in turn; the voice of the officiating priest is raised within, and is answered in deep tones by the deacons without. Now from one corner comes a chant of many voices, now for another a single one in tones (it may be), the epistle or gospel of the day. Now the doors fly open and a fleeting glimpse is gained of the celebrant through the thick rolling clouds of incense. Then they are closed again suddenly. To a stranger unable to follow and in ignorance of the meaning, the effect is bewildering.

In writing, even generally, of the arts in Russia some reference to religious music is excusable. That of Russia has a peculiar charm of its own, far above the barbarous discords that are to be heard in Greek and other churches of the East at the present day. There is a sweetness and attractiveness in the unaccompanied chanting of the choir, in the deep bass tones of the men mingling with the plaintive trebles of younger voices, which is indescribable in its harmony. It is unlike any other; yet underneath lies the original tinge of orientalism, the wailing semitones of all barbaric music. No accompaniment, no instrumental music of any kind is permitted. Bass voices of extraordinary depth and power are the most desired. It is said that the tones now used in the Russian church are comparatively modern.

The principal churches and monasteries in Russia possess rich stores of vestments; some of comparatively high antiquity which are preserved with scrupulous care and still used on occasions of great ceremony. In more modern vestments the ancient ornament is to a great extent strictly copied.

The saccos, formerly the principal vestment of the patriarchs and an emblem of sovereign power, is now common to all Russian bishops. It is in the shape of a dalmatic, formed of two square pieces of stuff joined together at the neck and open at the sides, having wide short sleeves. Many of the finest of these vestments are elaborately embroidered in gold and silver and ornamented with figures of saints; and in the stuffs themselves sacred subjects are often woven. They are also thickly sown with rows of seed-pearls which follow the lines and edgings of the vestment and border the sacred images. They are besides set with enamelled, nielloed, or jewelled plaques of gold or silver. Texts in Greek or Sclavonic often border the whole of the edges of the garment. These are elaborately worked in gold or silver, or the letters formed completely of seed-pearls. The saccos of the Metropolitan Peter (made in 1322), of Alexis (1364), of Photius (1414), and of Dionysius (made in 1583), are remarkable vestments of this character, to be found in the patriarchal sacristy at Moscow. The stoles, which usually correspond, are long, narrow, and nearly straight-sided to the bottom. A peculiar episcopal ornament is the epigonation. It is a large lozenge-shaped ornament embroidered and worked in a similar manner to the other vestments, and by bishops is worn hanging from the right side.