[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.