The Sun.
London, England, 1866-11-14 00:00:00

the mystical depths of the lower dome, has
a peculiarly solemn effect from the grandeur
and width of the adjoining portion of the church.
In the first dome, which, according to the orthodox
architecture, is the church proper, the clergy were
already in attendance. At their head was pointed
out to me the Archbishop Metropolite of Novgorod
and St. Petersburg, than whom there is only one
greater ecclesiastic, the Archbishop of Moscow, in
the empire. With him were four other bishops, old
men all wearing the silver tiaras, and ample mantles
of their rank. Archpriests, with uncovered heads
and long flowing hair, reaching to the shoulder,
stood beside them in violet cloaks ; other priests
were seen stationed in the background. In a niche
on the right stood the Court singers—boys and men
of all ages. Close to them, in the front part of the
chapel, I saw Prince Menschikoff leaning against
the rail. A friendly old gentleman, with bright eyes
and relaxed features, he certainly did not look like
one who but 12 years ago caused a sanguinary war.
Sir Andrew Buchanan, in British diplomatic uni-
form, with the order of the Thistle round his neck,
was talking with his fellow-Ambassadors of Prussia,
Austria, Denmark, and France. Lord Hamilton,
Mr. Clay, the American Envoy, and M. Valuyeff,
the Minister of the Interior, passed by, with others.
Mr. Fane and Mr. Mitchell, of the British Embassy,
stood by the side of the Danish and Prussian officers
who had come to add eclat to the festivities. A
Greek General, in loose jacket and Oriental gaiters,
was noticeable by contrast, and French Marquises,
German Grafs, and Italian Contes vied with Rus-
sian Princes in the profusion of Orders and the ele-
gance of garb.
Suddenly the hum is hushed. A master of cere-
monies, baton in hand, has entered to announce the
approach of the marriage procession. While the
same message is being given to the town by the guns
outside the equerries and fouriers de la tour enter the
chapel. The masters of ceremonies, the chamber-
lain, and the various charges of the Court follow in
due succession. And now the Emperor and Empress
come in sight, preceded by Count Schuvaloff, the
Grand Marechal. His Majesty is in the uniform of a
General, and leads his Royal spouse to the Metropo-
lite, standing in the centre of the Church to receive
them. As the aged dignitary slowly and gently waves
his cross to and fro the Emperor stoops to kiss the
sign of Salvation, and to cross himself on forehead
and chest with holy water. The Empress repeats
the sacred rite, and places herself beside her august
husband. The Crown Prince Cezarewitch is the
next to enter, to kiss, bow, and cross himself in
accordance with the devout forms of the Church.
After him walks in Princess Dagmar, or, as she has
been latterly called, the Orthodox Grand Duchess
Maria Feodorowna of All the Russias. She walks
in beauty. The Metropolite, who looks as though
he had stepped out of the frame of some ancient
picture of the church, inclines himself to the bloom-
ing girl as she conforms to the requirements of
the national creed. Her Imperial Highness steps
back to the three principal members of her family,
who have already entered the sacred edifice. The
four stand together, and the eyes of all present
centre upon them. In them is compassed the pre-
sent and future of this immense empire. The Czar,
tall, majestic, with the habit of command and the
disposition to kindness clearly legible on his manly
features, is not only the first, but also the finest man

in the room. His Queen, whom sieltness has not
robbed of the feminine grace which clothed her

younger years, is readily recognisable from the well-
known portraits representing the beautiful Mary of
Hesse. In a white dress, with a train of gold stuff,
trimmed with ermine, and a sparkling diadem on
her head, her Majesty looks worthy to be a Queen.
The Grand Duke, successor to the throne, is rather
stout for his age, with a good share of will and reso-
lution stamped upon his youthful face. Like a rose
growing in the shadow of an oak, Princess Dagmar
stood beside him. Her lovely features were ani-
mated by excitement, and in her eye shone confident
the hope of future happiness. On her dark locks
rested a crown of priceless diamonds, graceful and
light as a wreath or chaplet of flowers. A superb
brooch, if a jewel covering nearly the whole upper
part of the bodice can be called so, glistened on her
breast. Her robe was of white moire-antique, and
her train, carried by four chamberlains, of crimson
velvet, trimmed with ermine.
Their Royal Highnesses the Prince of Wales, the
Crown Prince of Prussia, and the Prince of Den-
mark entered next. Then came the younger sons of
the Emperor, Princes Vladimir, Alexis, Serge, and
Paul, the Grand Duke Constantine and his consort
with their children, and after them the other Princes
and Princesses of the blood closed the Royal part of
the procession. All went through the same ceremony
of kissing the cross offered them by the Metropolite,
and all in turn were kissed, so it seemed to me, by
the Metropolite. He bowed lovingly down to the
little children, as they went up to him one after the
other, and when the last of them had made the obei-
sance before the cross, returned with his clergy to the
altar. The Imperial family and their Royal guests
then likewise proceeded to the centre of the church,
the remaining members of the procession, as they
came in, disposing themselves in the entrance-hall.
There were but few ladies in the train.

And now the service began. The clergy having
ranged themselves round the altar, prayers were in-
toned by them, and hymns and responses chanted by

the singers. The serious and measured music of the
Greek Liturgy is rich in beautiful calences, and may,
perhaps, be best described as something between the
rigid austerity of the Lutheran Choral and the lighter
rhythms of the Romish Church. The solos are chiefly
recitatives, broken by the constant repetition on the
part of the choir of the responses, " God, be gracious
to us," and " God, we cry to thee." In the more
independent parts of the choral singing soft voices of
his bride
children are effectively blended with sonorous basses.
At a
certain
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ay
family, and h been conducted by the
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ritual. They resemble in shape
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pair the marriage crowns
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silk.
sirculiar to the orthodox
This singular . wire, or some such
material,tiaragan
cere-
mony continued for about 20 minutes, the officiating
Princes being repeatedly obliged
hands from weariness. Suddenly the •
music became
softer, quicker, and more melodious. Its eloquent
notes predicted the speedy consummation
of the
hallowed act. To this tune bride and bridegroom
were led thrice round the altar by the Aletropolite.
Then they were pronounced to be man and wife.
An exchange of rings in this country only takes
place at the betrothal.
While the young Prince and Princess Alexander
were still receiving the congratulations of their
illustrious relatives a hoary archpriest, with sten-
torian voice, intoned a prayer for the health and wel-
fare of the Czar, his wife, and his children. His appeal
to the Deity was preferred in urgent accents, the other
clergy chiming in", and with many inflections and
genuflections asking blessings on the head of their
beloved Sovereign. A rolling Te Deum terminated
the service. It was a glorious composition, and
jubilantly sung. At its close the Imperial family,
having received the felicitations of the clergy, left
the chapel with their Royal guests. The only differ-
ence to the order in which they entered was that the
bridegroom and bride walked side by side. They all
acknowledged the respectful salutations of the spec-
tators. The procession re-formed, and accompanied
the Imperial personages to their private apartments.
As I left the palace the first snow had fallen.
Russia had assumed her national garb to welcome
her future Queen.

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