Note 5 — Chapter XXVII · THE SIBERIAN FRONTIER AT KIAKHTA.

This reminds me that, though allusions have often been made to churches, I have not yet described what a Russian church is like. It should be premised, then, that the ideas of an Englishman and a Russian differ widely as to what a grand church should be. Given an English committee, money in hand, and they say, “Go to; let us build a church to the praise and glory of—the architect;” whereas a Russian merchant, his pocket full of roubles, seeks him out a lapidary, to whom he takes emeralds, rubies, diamonds, and pearls; a smith, to whom he consigns poods of silver; and a cunning workman, who can emblazon and embroider priestly robes and ecclesiastical garments. The consequence is that the English ecclesiologist, standing before “a fine church” in Russia, finds almost nothing upon which to expend his vocabulary of architectural terms. He sees merely wood, stone, or brick and plaster buildings, not too evenly finished, and whitewashed over in such a fashion that, but for their proportions, they would not be thought too good for an English homestead.

The Russian churches are so far alike that they are all modelled on the Byzantine style of architecture—a Byzantine church having been described as a “gabled Greek cross, with central dome inscribed in a square.” On the exterior, besides the central, there is sometimes a western dome, often there is one at each angle of the square, and, occasionally, one at each end of the cross. Accordingly, instead of spires, the eye of a traveller in Russia becomes accustomed to cross-crowned domes, which, as they are brightly painted and sometimes covered even with gold, and furnished with bells, affect both eye and ear not unpleasingly.

On entering a Russian church from the west, the internal arrangement is seen to be fourfold: first, the narthex, or porch, which was anciently for catechumens and penitents; next the nave, or body of the church; then a narrow platform, raised by steps, answering to the choir; and, beyond that, the sanctuary. The sanctuary is divided into three chambers: the central one being called “the altar,” in which stands the holy table, and behind it the bishop’s throne; the southern chamber forming the sacristy, where are kept the vestments and treasures; whilst that on the north is for preparing the sacramental elements. The sanctuary is parted off from the choir by a high panelled screen, called the ikonostasis, pierced by three doors, the centre opening being called the “royal gates,” on the north side of which hangs a gilded sacred picture of the Virgin, and on the south side a picture of our Saviour, and the patron saint of the church. The remaining parts of the screen are covered with other pictures, upon the frames and coverings of which, apart from their artistic value, an almost fabulous amount is sometimes lavished. The precious stones on the picture of Our Lady of Kasan, for instance, in Petersburg, are valued at £15,000; whilst, at Moscow, one emerald on the picture of the Holy Virgin of Vladimir is valued at £10,000—the value of the whole of those on this latter ikon being estimated at £45,000.