All this seems good; and a ride of four hundred miles through such glories rarely fails to set the traveller at chanting the praises of the Emperor who conceived them. But when the traveller notes that complete isolation of the work from all conditions necessary to its success, his praises grow fainter. He sees that Nicholas held back from continuing the road to Odessa, though half the money spent in making the road an Imperial plaything would have built a good, solid extension to that most important seaport; he sees that Nicholas dared not untie police-regulations, and that commerce is wretchedly meagre. Contrary to what would obtain under a free system, this great public work found the country wretched and left it wretched. The traveller flies by no ranges of trim palings and tidy cottages; he sees the same dingy groups of huts here as elsewhere,—the same cultivation looking for no morrow,—the same tokens that the laborer is not thought worthy of his hire.
This same tendency to great single works, this same fear of great connected systems, this same timid isolation of great creations from principles essential to their growth is seen, too, in Nicholas's church-building.
Foremost of all the edifices on which Nicholas lavished the wealth of the Empire stands the Isak Church in St. Petersburg. It is one of the largest, and certainly the richest, cathedral in Christendom. All is polished pink granite and marble and bronze. On all sides are double rows of Titanic columns,—each a single block of polished granite with bronze capital. Colossal masses of bronze statuary are grouped over each front; high above the roof and surrounding the great drums of the domes are lines of giant columns in granite bearing giant statues in bronze; and crowning all rises the vast central dome, flanked by its four smaller domes, all heavily plated with gold.
The church within is one gorgeous mass of precious marbles and mosaics and silver and gold and jewels. On the tabernacle of the altar, in gold and malachite, on the screen of the altar, with its pilasters of lapis-lazuli and its range of malachite columns fifty feet high, were lavished millions on millions. Bulging from the ceilings are massy bosses of Siberian porphyry and jasper. To decorate the walls with unfading pictures, Nicholas founded an establishment for mosaic work, where sixty pictures were commanded, each demanding, after all artistic labor, the mechanical labor of two men for four years.
Yet this vast work is not so striking a monument of Nicholas's luxury as of his timidity.
For this cathedral and some others almost as grand were, in part, at least, results of the deep wish of Nicholas to wean his people from their semi-idolatrous love for dark, confined, filthy sanctuaries, like those of Moscow; but here, again, is a timid purpose and half-result; Nicholas dared set no adequate enginery working at the popular religious training or moral training. There had been such an organization,—the Russian Bible Society,—favored by the first Alexander; but Nicholas swept it away at one pen-stroke. Evidently, he feared lest Scriptural denunciations of certain sins in ancient politics might be popularly interpreted against certain sins in modern politics.
It was this same vague fear at revolutionary remembrance which thwarted
Nicholas in all his battling against official corruption.
The corruption-system in Russia is old, organized, and respectable. Stories told of Russian bribes and thefts exceed belief only until one has been on the ground.
Nicholas began well. He made an Imperial progress to Odessa,—was welcomed in the morning by the Governor in full pomp and robes and flow of smooth words; and at noon the same Governor was working in the streets, with ball and chain, as a convict.
But against such a chronic moral evil no government is so weak as your so-called "strong" government. Nicholas set out one day for the Cronstadt arsenals, to look into the accounts there; but before he reached them, stores, storehouses, and account-books were in ashes.