The book containing monk Parfenyj's pilgrimages was one of Dostojevskyj's favourites and it had also a strong influence on him especially on his style. The spirituality and religiosity of the pilgrim Makar Dolgorukyj in the novel Podrostok is just as uncommon and unusual as that of Parfenyj's in the eyes of his contemporaries. The characters understand Makar as a representation of the great gulf that exists between the common peeple1s and their religion. In our paper we show that the mother, Sophia Andrejevna represents the other side of the same idea manifesting itself in close attachment to the Church and to its rites. In our opinion Makar and Sophia on the basis of their similarity are living icons formed from love. We also point out that Versilov's unexpected destruction of the icons after Makar's death symbolizes an earlier period in his life when he destroyed Makar and Sophia's marriage disregarding it as a sacrament. The tragical schism of the old believers has its impact in the novel, shown as a gap that cannot be filled as seen in Makar's fate and his loss of belief.