In 1901, British Journalist John Foster Fraser travelled from Moscow to Vladivostok, and back again, mostly by rail. On his return, he recorded his experiences (and prejudices) in “The Real Siberia”.
In today’s excerpt, Fraser visits a cathedral in Irkutsk:
You find paradox in Irkutsk as elsewhere.
Being the wildest, the most wicked city in East Siberia, it is also the most saintly, devout, sabbatarian place within the realms of the Great White Czar.
Sunday is as strictly observed there as it is north of the Tweed. In all other towns there is trade on the Sunday. The Government, however, is the Lord’s Day Observance Society in Irkutsk, and inflicts fine and imprisonment if you sell a pennyworth of anything. There are two cathedrals, one new and one old, also 25 Greek churches, two synagogues for the Jews, and other places for other people.
There is religious liberty in Siberia - Christians, Jews, Mohammedans, Buddhists, Sunnites, and pagans live in peace - except that perversion from the State Greek Church is forbidden and punishable if done.
The tinsel Byzantine decorations of many churches you see in European Russia make the eye ache with their gilt gaudiness. But in Siberia the churches have mostly a quiet quaintness, a simplicity that is effective, nothing more than Doric walls whitewashed, a long, slightly sloping roof, green painted, and a needle of a spire, green painted also.
At sundown on the Saturday night -the air soft, fragrant, and full of pellucid blueness - all Irkutsk seemed to clang with bells calling the faithful to prayers. It was a mellow, vibrant sound, for the bells, many toned, were struck with wooden hammers.
With a friend I drove to the cathedral - a distance from the town, as everything is in Siberia. It, however, has not the Slavonic demure prettiness of the other churches. It is new. It is a huge domed structure, a sort of miniature St. Peter’s, stucco-faced and drab-coloured. It stands on a sandy waste and has a cramped appearance.
A long, covered colonnade with steps leads up to he church, and on them squat wrinkle-faced, sore-eyed, and twisted-limbed old men stretching palsied arms for charity.
At the top of the steps as we push open the glass door, the thick aroma of incense fills the nostrils. Dusk has fallen, and a weird gloom, broken by a hundred taper lights, pervades the church. The cup of the dome is blue, sprinkled with golden stars. There are no pews or seats. A purple carpet covers the floor, and on it are kneeling men and women.
In front is a great screen of gold, and the candle lights catch cornices and make them glow like shafts from the sun. Possibly all this massed gold would be ostentatious in the light of day. But now, in the softness of the evening, ostentation fades away. Everywhere are pictures of saints, and before them stand heavy candelabra with a hundred sockets. It is for the devout to bring their tapers, fix them, and do reverence.
But something better than incense fills the air. It is the sound of men’s voices. There is no organ; there are no stringed instruments. There is a choir of men, and their throats have deep richness. With the majesty of a Gregorian chant, they sing their Slavonic adoration, but tinged with pity, like the low melody of wind on the plains.
A door in the middle of the screen swings open. There are priests, long-haired and long-whiskered, in heavy canonical robes, silver-twined. One, a tall man, sallow-faced, lustre-eyed, his black beard that of a young man, his hair falling over his shoulders, comes forward swaying a censer. He stands on the step, and in a voice of sweetness and strength cries, “Gospodi pomilui” - “Lord, have mercy!”
His face is like that of Christ - not an unusual type among Russian priests.
“Gospodi pomilui,” responded the worshippers, kneeling and touching the ground with their foreheads.
Beyond the screen, within the Holy of Holies, where lights flicker on a cross, is an older priest, elevating his hands and praying.
Upon his prayer like a wave breaks the billow of sound from the choristers. And the people who have come to pray cry, “Lord, have mercy! Lord, have mercy! Lord, have mercy!” many times.
The light is dim. The tapers blink before the gold-encompassed saints. The cathedral is full of music and incense.
There are worshippers continually coming. They carry tapers, some only one, some many, and as they bow before the altar they make the sign of the cross. Far more than half those present are women.
Here comes a lady, dark-featured, well-dressed, with fashionable cape upon her shoulders, and on her head a bonnet that might have come from Regent Street. She goes to the picture of a saint, makes obeisance, and then she lights a taper from another taper. To make it grip she puts the end of her taper in the flame for a second, and presses it tight in the gilt socket, Then she goes to the picture, kisses the foot of the saint, and, kneeling, crosses herself, and prays with her forehead on the ground. She moves to another picture.
There is a peasant, heavily bearded, his sunburnt face rugged and furrowed. He wears a red shirt, velvet trousers, and big boots. He has no taper, but he stands taut, like a soldier, and he crosses himself and bows and cries, “Lord, have mercy.”
The big voice of the singers soars over all, repeating the liturgy in Slavonic.
A gentleman in frock-coat, begloved, and carrying a cane, comes forward, takes his candle, bows, and goes away.
A couple of slim boys, in the dull grey uniform of the Gymnasium, hurry along. They stand, heel-clapped, and with dexterous wrist make the cross signs. They light their tapers. But the tapers won’t stick upright in their sockets. They are well-behaved little fellows, but as the tapers will persist in toppling over, the boyish sense of humour asserts itself and they grin. At last they are fixed, and the lads stand watching the candles with a half-amused glance, wondering if there are to be any more tricks. No; they hold. Then the boys swing round, make their bows, and hasten away.
Here comes tottering an old lady - a very old woman, short and bent, and with a black shawl round her head. From the rim of black shawl peers a worn face, the upper lip fallen in, the eyes sunken and dull and yet with that beautiful resignation, shining through the countenance, you often see on the faces of old women whose thoughts are not of this world.
There is a picture of the Madonna and Child - the young Mother with eyes all love looking upon her new-born Son. Many, many tapers are before this icon, which glows with a special radiance.
To this the old woman comes with clasped and knotted hands. Her face is upturned, and the full gleam of the tapers falls upon it. There is a yearning in the sunken eyes. The dried, yellow lips quiver. The bones of the old woman ache, for she groans as she kneels. She lowers her face to the ground, and there she stays long, a dark, crouching figure of adoration before the picture.
When she looks up there are no tears; only, I think, there is a brighter light in the eyes than before.
She rises. With faltering steps she goes to the picture and reverently kisses the feet of the Child. Then she kisses the arm that holds Him.
The old woman finds peace and comfort to her soul. Maybe she sees the lifting of the curtain. It is not for one of another faith to say aught in disparagement. It is a pathetic sight. So I nudge my companion and we come away.
This post is one of a series of excerpts from John Foster Fraser’s “The Real Siberia”. Further excerpts can be found in the Siberian Light archive.
The full text of The Real Siberia is available online at Friends & Partners.