[143] Its dimensions are 731 by 584 feet. There are three stories with pilasters on two levels, but the architrave bends over each of the upper windows, and the consequent loss of the horizontal line that is of the very essence of Classic architecture, is absolutely fatal to the effect. Several halls and other chambers within are extremely magnificent, but the most glorious columns of marble support gilded capitals of plaster, and there is a good deal to justify Fergusson's observation about a man of taste recoiling in horror from such a piece of barbaric magnificence. The chapel is frankly Russian with the customary onion dome. The figures of the eikonastasis stand out detached, though the Eastern Church as a rule holds anything more than very slight relief as a breach of the Second Commandment. This little building contains some priceless relics, hands of the Baptist and of the Virgin, a fragment of the body of St. George, a piece of the true cross, a picture painted by St. Luke! There are relics nearer our own day in the chamber where the second Alexander died in 1881, after being wounded by the bomb (p. [253]). His empty study chair, the books as he left them on the table, the few coins in his pocket when he went out for the last time, his unfinished cigarette, his coat thrown over the back of a chair, the couch on which he passed away.
[144] This structure is more Greek in design, the architect was Baron Leo von Klenze, of Munich, and it was erected about the middle of the nineteenth century. There are two large courts, but one of them is divided by the great staircase which rises between two rows of magnificent grey marble columns that support the plaster ceiling; other portions have a very rich effect from the profusion of coloured marbles and the beautiful inlaid wood flowers which almost give the impression of mosaic. The lower storey forms a very complete museum, beginning with ancient Egypt and including many interesting things from different parts of the Russian Empire. The upper storey, which is higher and much better lighted, houses the famous collection of pictures.
[145] The reason was that he wanted his people to look more European, but the Russians held a good deal of the oriental view of the sacredness of beards, and some preserved their cut-off hairs to be buried with them and enjoyed in the next world.
[146] This characteristic seems even more apparent among Russians in the Far East than in their own capital.
[147] The original Patriarchates were those of Jerusalem, Antioch, Alexandria, Constantinople and Rome. That of Moscow dated from the sixteenth century.
[148] Each portico has eight huge monolithic columns of red Finland granite, 56 feet high (bases and Corinthian caps of bronze), to support the sculptured tympanum, whose figures are in high relief, and is approached by a stately flight of steps. Except on the east there are splendid portals with grape patterns in stone and beautiful relief bronze doors. The side porticoes are deeper than the others and flanked by turrets for bells. The plan of the church is a simple oblong, 305 by 166 feet. Only four great windows admit light to the interior (except for a single one behind the altar opening into the eastern portico and those of the lantern dome), one on each side of the lateral porticoes. These naturally dwarf the design very much. A rather poorly planned circular colonnade and iron dome rise through the roof, resting on four huge piers in the church. The arrangement of the vaulting is made to suggest the ordinary cruciform plan, with a dome in each corner. The general effect is extremely rich from the magnificent shafts of malachite and lapis lazuli, and the lavish decorations of inlaid marble and mosaic, but nothing can redeem the poverty and commonplace character of the design. Fergusson calls the building a cold and unsatisfactory failure, and says there is not a week's thought in the whole design from pavement to dome cross. This it is not easy to deny, but there is much to redeem the failure, particularly in the splendour of the material.
The other Renaissance buildings of the city are very numerous, and in many cases very large, but for variety they cannot be said to be remarkable. Of the foreign architects successively employed, not one was really good, and decidedly the best buildings on the whole are those designed by Russians who had mastered the principles of the foreign style. One of the most successful, by Varonikin, was erected at the worst possible period—the early nineteenth century. It is the Cathedral of Our Lady of Kazan, an Italian building, 257 feet long. Inviting colonnades extend from the north transept to the street, forming a vast semi-circle and suggesting the piazza of St. Peter's. The portico of the transept appears in the centre with the dome rising above, and, material apart, this is one of the most successful things of its kind ever built. Nave and south transept also have porticoes. The columns throughout the building are in pairs, and within the effect is most striking from the granite columns that uphold the great entablature, the lofty flat roofs of the aisles, and the way in which the lantern rises from arches which terminate the tunnel vaults of the four arms. Much of the eikonastasis is of silver, and the floor is marble inlaid.
[149] The centre of gravity of the rearing horse is successfully preserved in the right place by making the metal almost solid at the back and quite thin in front. In November, 1770, Rev. J. C. King wrote to Lord Macartney: "I mean the great stone on which Falconet's statue is to be placed.... It is ... arrived at St. Petersburg: the Empress had earrings made of it for herself."
[150] In some parts of the city the soil is of a stiff blue clay.
[151] The bomb-splintered brougham in which he took his last drive is preserved unrepaired among the Imperial carriages.