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ALFRED MASKELL

The history of the introduction and early progress of Christianity in Russia is involved in obscurity and overlaid with legendary stories. There is little doubt that it came from Constantinople, and was not only rapidly spread, but firmly established in the country within a short space of time. The date most generally accepted is that of the reign of Vladimir, the great prince of Kief, grandson of Olga. As Dean Stanley remarks in his Lectures on the Eastern Church: "It coincides with a great epoch in Europe, the close of the Tenth Century, when throughout the West the end of the world was fearfully expected, when the Latin Church was overclouded with the deepest despondency, when the Papal See had become the prey of ruffians and profligates, then it was that the Eastern Church, silently and almost unconsciously, bore into the world her mightiest offspring."

CHURCH OF THE ASSUMPTION, MOSCOW.

The Eastern Church was then at the zenith of its splendour. The envoys sent by Vladimir to Constantinople to examine and report upon the religion which he had almost decided to adopt were dazzled with the magnificence of the ceremonial. They were wavering in their choice and weighing the merits of the different systems which had been brought before them. Rome they had not seen; Mohammedanism was foreign to their tastes; Judaism had been found wanting; but the Eastern Church appealed strongly to their imaginations and barbaric love of splendour. Hers was St. Sophia, magnificent now, but how much more gorgeous then! Every effort was made to win them, and the victory was easy.

The intercourse of the newly formed empire of Russia with Byzantium was at that time great. The change of religion had been very sudden and it was necessary to build at once new edifices for the new order of things. It was naturally to Byzantium that they turned for their form and ornament. Very quickly churches arose. Novgorod, the cradle of the Empire and the capital until the removal to Kief, was the Metropolitan See, and the first cathedral is said to have been built there as early as AD 989.

The form of a Russian Church underwent little change up to the Seventeenth Century. In the Thirteenth Century the architects imported from Lombardy brought to bear on the exterior the style of the Lombardic or Romanesque architecture which had so long prevailed in their own country. The gilded dome or cupola, of peculiar onion-shaped form which is so especially Russian, was added soon afterwards. The central cupola, which was adopted from the first, was afterwards surrounded by others; their number reached even to twenty or thirty, and it was not until the Sixteenth Century at the time of the establishment of the patriarchate (1589), that these were authoritatively restricted to five, which is now the orthodox and obligatory number.

The practice of having two, three, five, seven, nine and thirteen cupolas or spires is as early as the Eleventh Century. The numbers were figurative; two signifying the two natures of Jesus Christ, three, a symbol of the Trinity, five, our Lord and the four evangelists or the five wounds, seven, the seven sacraments, the seven gifts of the Holy Spirit, or the seven recumenical councils, nine, the nine celestial hierarchies, and thirteen, our Lord and the twelve apostles.

Within the dimensions are small and the light obscure. Still, the simple, nearly square disposition of the building, the enormous plain-shafted pillars which support the domes, the mass of gilding, the multitude of lamps, produce an undoubtedly grand effect. It is strikingly oriental; and as in Russian churches there are no seats, but the people stand in a mingled throng, now and then prostrating themselves and beating their foreheads on the ground, each as his own devotion may dictate, the resemblance is still more marked. All the interior is covered with fresco pictures; even the pillars have gigantic figures of the saints and doctors of the church painted upon them. From the high roof hang immense brass chandeliers of a peculiar form with many branches, capable of holding hundreds of candles. In the dim distance, seemingly a wall of gold, is the iconostas, the solid screen which in every church divides the sanctuary from the rest of the sacred edifice.

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.

The usual form of mitre of a pope of the Russian church is well-known. The earlier kind was a sort of low cap with a border of fur, something like the cap of a royal crown, and probably not different in type from the head-dresses of bishops of the west. Some are sewn thick with pearls bordering and heightening the lines of the figures of saints, and forming the outlines of the Sclavonic inscriptions. Such is that of Joassof, first patriarch of the Russian church (1558). Those of later times are often of metal richly set with precious stones. Sometimes they assume a more conical form, surmounted by a cross, like an imperial crown, as that which is termed the Constantinople mitre, said to have been made in the time of Ivan the Terrible. The mitre of the celebrated Nikon (1655), who aspired to papal prerogatives, is diadem-shaped and remarkable for the richness of the precious stones with which it is set. The most usual shape recalls to some extent the favourite cupola, spreading out from the base to the top.

The form of the chalice used in the Russian church varies considerably, as it does also in that of the Latin church. In general characteristics the two have much in common. In early times the chalice was made of wood or crystal as well as of gold and silver. An ancient chalice of crystal is preserved in the Cathedral of the Assumption at Moscow, and the wooden ones of SS. Sergius and Nikon are in the sacristy at Troitsa. On some old icons our Lord is represented as giving the holy communion to the apostles out of narrow-necked vessels which appear to be made of alabaster.

The Greek rite for the celebration of the holy eucharist requires three things which are not used in the western church. These are the knife or spear, the star or asterisk, and the spoon for the administration of the chalice as the sacrament is received by the laity under both kinds. It may naturally be supposed that such sacred objects would be the subjects of high artistic workmanship. The paten itself is often elaborately enamelled and otherwise decorated, whereas in the western church the rubrics require it to be plain.

The ceremonial of the preparation of the bread (which is leavened and in the form of a small loaf) is exceedingly complex. Portions are cut out for consecration, and for this purpose a knife called a "spear" is used. These portions placed on the paten are covered with a veil, and in order to prevent the latter from touching the elements a piece of metal is placed over them: two strips crossed, and bent so as to have four feet. The tabernacle, or perhaps more properly ciborium, is sometimes in the form of a hill or mount of gold or silver-gilt, or of a temple, and there are many remarkable examples. One at Troitsa is of solid gold with the exception of Judas, which is of brass. Another is in the sacristy of the church of the Assumption at Moscow. From its inscription we learn that it was made for the grand duke Ivan Vassilievitch in 1486, and it is a characteristic specimen of Russian art of the period.

A peculiar ornament or sacred vessel of the Russo-Greek church is known under the name of panagia, and of this there are two kinds. One is a jewel or pectoral worn suspended from the neck by bishops, and is an object on which much care and rich decoration are lavished. In a somewhat altered form it is worn by priests in the same way for carrying the holy sacrament on a journey or to the sick.

Pectoral crosses for the dignitaries of the church are of course not uncommon; not only priests, however, but every Russian man, woman or child carries a small cross, more or less ornamental. They are various in form and richness of decoration; from the simple bronze cross, rudely stamped, of the peasant, to the enamelled and jewelled one of the metropolitan or noble. Nearly always the plain three-armed cross is set in the centre of another more elaborate or conventional. Almost invariably also the sacred monograms and invocations in Sclavonic characters are engraved in the field. In some cases it is more a medallion than a cross, the form of the cross being indicated by cutting four segments in the manner of the ancient stone crosses to be seen in many parts of England. Besides the inscriptions, emblems such as the spear and nails and crown of thorns are often to be distinguished though conventionally indicated.

Crosses on church tops are made of silver, wood, lead, and even gold. The open-worked designs of many of them, although intended to be placed at great height, are extremely elegant. They were occasionally ornamented with coins, and those on churches erected by the Tsar are surmounted by an imperial crown.

A crescent as a symbol beneath the cross is very frequent. Various explanations of this symbol have been given. According to some it is in remembrance of the victory of the cross over the crescent on the deliverance from the Mongol yoke. Others think it to have originated simply in the freak of some goldsmith, afterwards copied by others until it came to be accepted as a necessity. It is certain that the use of the crescent is anterior to the Mongol invasion, and was an old symbol in Byzantium, as appears from coins.

The pastoral staff of Russian bishops is tau-shaped; and there are many good old examples, a few in ivory, but for the most part in silver-gilt. Processional crosses are also used.

The censer is a piece of church furniture in constant use in the Russo-Greek church, and we find several examples very characteristic of Russian art. As in the west, the application of architectural forms is very frequent, and it is not surprising that the peculiarities of Russian ecclesiastical ornament should be prominent and especially the dome which naturally suggests itself.

Amongst the objects kept in the sacristy of the patriarchs in the Cathedral of the Assumption, in Moscow, is one which is held in special veneration. This is the vase in which is preserved the deposit of holy chrism used in the annual preparation of holy oils for distribution to the various churches of the empire.

The preparation of this oil is an occasion of great ceremony in Holy Week. From the fourth week in Lent the preliminary mixings of oil, wine, herbs, and a variety of different ingredients begin. In the Holy Week these ingredient are prepared in a public ceremony: two large boilers, several bowls and sixteen vases together with other vessels being used. All of these are of great size of massive silver, and, presented by Catherine II. in 1767, are specimens of silver work of that time.