The panniers are bigger and less delicate, made for rough passage over stony roads and through bogs of mire. These panniers are fitted with compartments, like a vintner's crate, in which you can stow away bottles of wine and insinuate knives and forks. In the open part of your pannier it is well (if you are packing for a long drive) to have an assortment of bark baskets, in which to carry such trifles as mustard, cream, and salt.
Among the odds and ends of workshops into which you drop, is that of the weaving-shed, in one of the turrets on the convent wall; a turret which is noticeable not only for the good work done in the looms, but for the part which it had to play in the defense of Solovetsk against the English fleet. The shot which is said to have driven off the "Brisk" was fired from this Weaver's Tower.
Peering above a sunny corner of the rampart stands the photographic chamber, and near to this chamber, in a new range of buildings, are the cells in which the painters and enamellers toil. The sun makes pictures of any thing in his range; boats, islets, pilgrims, monks; but the artists toiling in these cells are all employed in devotional art. Some are only copiers; and the most expert are artists only in a conventional sense. This country is not yet rich in art, except in that hard Byzantine style which Nikon the Patriarch allowed in private houses, and enforced in convent, shrine, and church.
But these fathers pride themselves, not without cause, on being greater in their works by sea than even in their works by land. Many of them live on board, and take to the water as to their mother's milk. They are rich in boats, in rigging, and in nets. They wind excellent rope and cord. They know how to light and buoy dangerous points and armlets. They keep their own lighthouses. They build lorchas and sloops; and they have found by trial that a steamship can be turned off the stocks at Solovetsk, of which every part, from the smallest brass nail to the mainmast (with the sole exception of her engines), is the produce of their toil.
That vessel is called the "Hope." Her crew is mainly a crew of monks; and her captain is not only a monk—like Father John—but an actual pope. My first sight of this priestly skipper is in front of the royal gates where he is celebrating mass.
This reverend father takes me after service to see his vessel and the dock in which she lies. Home-built and rigged, the "Hope" has charms in my eyes possessed by very few ships. A steamer made by monks in the Frozen Sea, is, in her way, as high a feat of mind as the spire of Notre Dame in Antwerp, as the cathedral front at Wells. The thought of building that steamer was conceived in a monkish brain; the lines were fashioned by a monkish pen; monks felled the trees, and forged the bolts, and wove the canvas, and curled the ropes. Monks put her together; monks painted her cabin; monks stuffed her seats and pillows. Monks launched her on the sea, and, since they have launched her, they have sailed in her from port to port.
"How did you learn your trade of skipper?"
The father smiles. He is a young fellow—younger than Father John; a fellow of thirty or thirty-two, with swarthy cheek, black eye, and tawny mane; a man to play the pirate in some drama of virtuous love. "I was a seaman in my youth," he says, "and when we wanted a skipper in the convent, I went over to Kem, where we have a school of navigation, and got the certificate of a master; that entitled me to command my ship."
"The council of that school are not very strict?"
"No; not with monks. We have our own ways; we labor in the Lord; and He protects us in what we do for Him."