2010 Roush Stage 2 Specs

Impressions of St. Catherine, Sinai

After crossing the rocky valleys, granite porous and brittle, cut by large deep veins of manganese, which quench the boldest few trees and shrubs, the high walls of the Monastery of Saint Catherine are those of a frontier castle of the Emperor Justinian. The lush greenery and dazzling trees in his garden slap pilgrims exhausted and incredulous, yellow apples and pomegranates, figs and grapes, dates.
Inside the fortress there is a church that is like a precious stone mounted on a tiara of rare beauty, through its double doors, the first of the Abbasid Age, dating back to the other even at the time of Justinian, you enter a box of colored marbles, where the gilded wooden iconostasis, the huge crucifix appesovi above, the gold mosaic of Ravenna style better make dumb. The dozens and dozens of lamps and silver 0ro multiply the perspective on dozens of sacred icons, gold and covered with dust, hung on the walls.
The liturgy is unique, fully comparable performance of music in a form variable mirror, or a parabola in mathematics: the increasing rate reaches its peak and then slowly fades. From katholikon darkness rises a voice that reads in greek, fast-paced, passages of Holy Scripture. A Monaco wearing of vestments. It adds another monaco responding with a louder and more melodious. We light candles, one for each corner, then open the curtain of the iconostasis, one begins to sing soft, with melisma of the most diverse, and with a background of continuous low voice. Nell'acme spoke of celebrating a silver censer full of bells and the incense, well, of the purest of Arabia Petrea. Now we read, now you sing, and so on, you close the curtains, turn off the candles, singing back suffused conlude is reading, after an hour penobra blessed in the sanctuary, ranging between monks and novices who are, almost a dizzying turn of cylindrical beards and hats, long hair and veils blacks.