been examined, and, in the very centre of the Kremlin, between the Tsar Pushka and the Chudov Monastery, but three feet beneath the pavement, is the basement of an old edifice, vaults of white stone, probably the remains of the palace of the Tsar Boris Godunov. The smaller palace is built upon the side of an early cemetery; at one time in the open space near Ivan Veliki criminals were publicly executed and the ukases of the Tsar proclaimed. In the same way that the Kremlin is honeycombed with vaults for the storage of great quantities of food and munitions of war, it is penetrated by different conduits for the water drawn from the bed of the neighbouring stream; a supply so plentiful and constant that the Tsar Alexis used it to flow through great lead bottomed tanks and ornamental lakes, whereon, like later Tsars, he amused himself with a toy fleet.
The railed in Sobornia Ploshchad has been from time immemorial the Grand enclosure. Here the religious processions formed, and form; here Dmitri Ivanovich unfurled the black standard before going out to give battle to Mamai; here most Tsars have passed to their coronation, or have walked with their brides to the altar for the wedding sacrament; across it the princes and Tsars of Moscow have been carried to their last resting place. Outside that door crouched the excommunicated Ivan Groznoi, from this the frenzied people dragged their priest, towards that the threatened metropolitan bravely made his way to officiate at a forbidden mass. Before the Grand entrance (Krasnœ Kriltso) foreign ambassadors drew up in pomp to make their calls of state, on that same terrace Ivan with his staff transfixed the foot of the brave messenger of the not less bold Kourbski, there, too, he gazed at the comet supposed to foretell his death. To this place the basket for the petitions of the people was daily lowered from the Tsar’s palace window; on this spot fell the body of the murdered false Dmitri. Here at different times have gathered Tartar envoys, merchant venturers, turbulent Streltsi; the famished, the terrified and the pestilent stricken; Polish soldiers, French grenadiers, foreign fightingmen as a bodyguard, the dreaded “opritchniki”; bountiful boyards, Napoleon’s riff-raff; humble Russians to petition, pious ones to pray, grateful ones to return thanks.
The imaginative visitor may conjure up amidst the buildings whatever scene he will from the history of Moscow and find adequate setting. May picture state pageantry; church ceremonial; military display; the expression of perfervid piety; the ruin following fearful disaster—whether wrought by the hand of man or the act of God. Such scenes that the walls will seem to echo in turn the laughter of homely merry-making, the huzzahs of victory, the wails of the afflicted, the uproar of the turbulent, the sighs of the worshipper—for here every emotion has been many times expressed by the varying multitudes that have thronged these courts.
Entering by the tower of Philaret, the Church of the Twelve Apostles is on the extreme right, the Cathedral of the Assumption immediately in front, that of the Archangels on the left, opposite it is the Cathedral of the Annunciation communicating with the royal palaces by a terrace from which descends the wide flight of steps which as their name, Krasnœ Kriltso, indicates is the grand or state entrance to the palace. It was on this terrace that the Tsars of old allowed the people to see “the light of their eyes,” and there that those of noble race stood to be “beholden of the people.” At one time this flight had the usual porch at the foot, and a red roof above, just as the approaches to the old churches and the modern house, Dom Chukina off the Tverskaia. Fires have destroyed the roofs and now an awning only is used upon state occasions. These steps flank the old Granovitaia Palace and on its other side, in an obscure corner, almost behind the Cathedral of the Assumption, is the Holy Spot of the Kremlin, being to the church what the Krasnœ Kriltso was to the state.
It is the old entrance to the private apartments of the Patriarchs, and the chapel of the metropolitans, that known as the Pecherski Bogeimateri, raised on the site of the earliest stone edifice built in the Kremlin. Founded by Jonas it suffered the fate of most buildings in Moscow, but was always rebuilt in much the same style, and still conserves many characteristics of the most ancient of Moscow churches. The present building is composed of the fragments left from the fires of 1626, 1637, 1644 and 1682. The roof is vaulted, supported by four columns; the walls have pictures of the virgin and saints, and above the altar is that of the Madonna. The ikonostas has four stages and is adorned with most venerable ikons, notably those of “The Reception of the sacred vestments of the Virgin” of the Virgin of Vladimir (an early copy), and of the Holy Trinity, before which are ancient candelabra with the remains of tapers made like the old rushlights and gaily coloured. The inscription is to the effect that they were placed there by the Patriarch Joseph in 1643 and 1645. The old chandelier in the centre is by Sviechkov, a master craftsman of the Tsarian workshops in 1624. The Virgin of Pechersk, brought from Kiev, is hung upon the wall and surrounded with portraits of Peter, Alexis, Jonas, Philip, and other of the patron saints of Moscow: before this ikon all must bow or suffer eternal punishment. The church is never closed; day and night it is visited by pious pilgrims and the sacred lamp is ever burning before the ikon. It communicates with the corridor of the Terem, and behind it rise the domes of the churches within the palace, notably those of the Saviour behind the Golden Gates and St Catherine’s: near them the roof of the Terem and the walls of the Granovitaia Palace complete a picture wholly Muscovite; but, if tradition may be trusted, the work upon the most picturesque portion, St Catherine’s, is due to an Englishman, one John Taylor, in the service of the Tsars.
On Palm Sundays there used to form in the little square before the porch the head of that procession in which the Tsar led the Patriarch, seated upon an ass, by the Redeemer Gate to the Lobnœ Mesto. Peter the Great turned the procession to mere burlesque, mounting the Patriarch upon an ox and himself playing the buffoon. Here, too, were the miracle plays and church mysteries performed in the seventeenth century, and here the church processions still form for the more stately pageants of to-day.
The only old private dwelling remaining within the Kremlin is that now known as the Potieshni Dvorets, or “palace of amusements,” which was originally the house of the boyards Miloslavski and was acquired by the crown after the marriage of the Tsar Alexis with Maria Miloslavski. The interior has now nothing of particular interest, but the exterior is an excellent example of Russian architecture as modified by mid-European influence in the late seventeenth century. Part of the third and fourth storeys instead of retreating, in the Russian style, is made to project, but the “belvedere,” with a balcony all round, is retained for the top storey; retained, too, are the bulbous pillars which serve as, or decorate the side posts of doors and windows, and the long pendant keystones to form the double-arch instead of a lintel; all of which are peculiar to Russian architecture.
