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 dea