In Russia, during and after the reign of Peter the Great (1689-1725), there appeared a curious mixture of styles. A style analogous to the Jesuit in Italy and the Churrigueresque in Spain was generally prevalent, but it was in many cases modified by Muscovite traditions into nondescript forms like those of the +Kremlin+, at Moscow, or the less extravagant Citadel Church and Smolnoy Monastery at St. Petersburg. Along with this heavy and barbarous style, which prevails generally in the numerous palaces of the capital, finished in stucco with atrocious details, a more severe and classical spirit is met with. The church of the +Greek Rite+ at St. Petersburg combines a Roman domical interior with an exterior of the Greek Doric order. The Church of +Our Lady of Kazan+ has a semicircular colonnade projecting from its transept, copying as nearly as may be the colonnades in front of St. Peter’s. But the greatest classic monument in Russia is the +Cathedral of St. Isaac+ (Fig. 207), at St. Petersburg, a vast rectangular edifice with four Roman Corinthian pedimental colonnades projecting from its faces, and a dome with a peristyle crowning the whole. Despite many defects of detail, and the use of cast iron for the dome, which pretends to be of marble, this is one of the most impressive churches of its size in Europe. Internally it displays the costliest materials in extraordinary profusion, while externally its noble colonnades go far to redeem its bare attic and the material of its dome. The +Palace of the Grand Duke Michael+, which reproduces, with improvements, Gabriel’s colonnades of the Garde Meuble at Paris on its garden front, is a nobly planned and commendable design, agreeably contrasting with the debased architecture of many of the public buildings of the city. The Admiralty with its Doric pilasters, and the +New Museum+, by von Klenze of Munich, in a skilfully modified Greek style, with effective loggias, are the only other monuments of the classic revival in Russia which can find mention in a brief sketch like this. Both are notable and in many respects admirable buildings, in part redeeming the vulgarity which is unfortunately so prevalent in the architecture of St. Petersburg. The +MONUMENTS+ of the Classic Revival have been referred to in the foregoing text at sufficient length to preclude the necessity of further enumeration here. CHAPTER XXVI. RECENT ARCHITECTURE IN EUROPE.