cons
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
jewe