The Washington herald., 1909-02-14

exposing 70 Lle ply o. Nn5 QdeSSItg AA0
footless frostbitten legs-and suddenly
one emerges into the great court
The first impression IS one OF sunlight
and sssgulls. The high buildings which
surround the monastery square are
painted white and the reflection OF the
sunlight upon the vast expanse OF wall
Is dazzling indeed. The seagulls are
there in hundreds. on the ground, on the
walls and roofs and even perching on the
trees.
il IS the archmandrite himself who re-
ceives Us in the stuffy salons Of his Of
iclal residence. hung with inferior OF
paintings OF the past Cars and a large
oleogrsph OF the present sovereign, and
a few minutes later we start under his
guidance 10 visit the two principal
churches which stand across the suniit
court.
We pass under an archBay and a wide
stone stairway leads on Up 20 a vast
corridor. extending both 20 right and
LEFT. The walls, painted IN terrifying
frescces. representing the horrors OF the
internal regions and scarcely more at
tractive ones portraying the joys Of
heaven. form q curious background 10
the groups OF priests and peasants and
all sorts and conditions OF men, who
nA1Ft H4UN4- GDN4L OF cLdAiN III nLlaD
groups gazing in silent wonder at these
crude representations Of a future life.
Everywhere can be seen the black
robed and black capped monks. their
long unkempt haxen hair falling low
over the shoulders OF their faded greasy
robes. Whatever riches may be hidden
in the treasures Of Solovetsl1y-and its
wealth Is undeniable and Undenied-the
class OF pilgrims most in evidence can
bring but small offe 'ngs-
Two Principal Churches.
The two principal churches, dedicated
10 ST. Herman and St Sabas, open into
this corridor. which occupies practically
the whole length OF one side OF the grest
square OF the monastery. As we pass
through the iron gates that give access
into the church a vision OF gorgeousness
meets the eyNgilded wood carving
reaching from the floor to the vaulted
and domed roof; frescoes Of gaudy
saints of gigantic proportions: columns
Of gold that turn and twist. testooned
with EiIded flowers, 10 end IN 81 proper
toned Corinthian capitals of gilt.
gIimpses OF half revealed sanctuaries.
Just visible between the heavy carvings
Of pierced golden doors. an altar. a blaze
OF light; little tapers burning bafoTe
the pictures and at the shrines OF saints:
above. suspended from the ceilings, great
candeIabra Of silver, through the inter
twining branches Of which one can bare
" discern the dusky figures OF unreal
apatbetic saints fTesCoed upon the gloomy
domes and vaulted roofs above.
At the altar a priest drones the Of
fee in the musical nasal rhyrnth OF con-
stant repetition Everywhere DerIneate
the scent and the dimneSs OF incense.
/ half concealing the groups OF peasants
who stand here and there about the
church or pass silently and reverently
from shrine 20 shrine and from picture
20 picture with low abeisance. lighting
a taper here and there and praying for
a few moments az each fayorite spot
It is a scene as oppressive in its at
mosphers as II IS in its superfuity Of
! giided ornament Taken in detail al
most everything IS depIorebIe in taste,
yet altogether the whole is overpower-
/ ing IN its richness CT color and in Its
! Oriental exsggeration OF accumulated
decoration. The priest has concluded
/ his Office and the choir Of men and
boys hidden behind great screens, break
into song.
/ Primitive as Is the chant fl is strangely
appealing n its tones. The boys voices,
/ full Of the freshness and purity OF youth,
blend with the deeper tones OF the men
| in the simple harmonies that have
echoed and re-echoed in the same spot
for over three centuries and a half
Beauty of voice and truth OF note are
there. but Just as the singers lack al
( expression Of countsnance. so their
I voices seem wanting in devotion and ex-
/ preston. It Is perhaps their absence
/ the apathy Of soul OF the singers-thai
! renders the music so strange and re-
markable.
The archinandrite. putting and per
/ spring with the unwonted energy, led
us next TO the great vaulted refectory.
/ with its frescoes OF saints and angels
Tables were laid ready for the monks
evening meaI-great dishes OF fish that
emitted a perfume that spoke Of consld-
cradle absence from the sea, and bowls
OF sour cabbage. evidently OF certain
: age. This. with lOayeS Of black bread
seems TO form the general fare.
I At the head Of the wide stairway IS
( the studio. z large weil-lighted room
/ in which a number OF apathetic youths
were engaged In glarinS colors upo7
gildeG backgrounds The principal worl
in hand seemed to be that OF restora-
ton, that Is TO say. the entire repaint-
1 ing Of the old pictures. The method i.
simple IN its bsrbarity.
Panels of Ancient Art.
The old panels. dating from centurie.
back. enriched and meIloEed by time
with their primitive saints that breath.
the spirit Of endesvcr that inspired thl
painters so long dead. were being washec
and scraped. and upon the seasoned pan
els were being displaced BY the soulIes.
monstrosities Of Russian modern relig
ious srt-expTesssonless .ponpous. insipid
ielde-iy gentlemen OF dissenting aspect