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t 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 yea