As is evident, these three works of Merezhkovsky belong to the "genre" of the historical and philosophical novel which demands, besides the power to call up past ages, a careful education and the gift of clear-sightedness. And the novelist completely fulfills these requirements. He knows his subject, he studies all the necessary documents with the greatest care and follows every story to its source; finally, before taking up his pen, he visits the countries and the cities in which the stories take place. Thus, in order better to understand Leonardo da Vinci, in order to live his life, the author of "The Resurrection of the Gods" traversed Italy and France from one end to the other, in the same way that he had traveled all over Greece so that he could give us a more life-like Julian. With the same care, he spent a long time reading Russian historical documents in order to present the reader with a better picture of the customs of the time of Peter the Great. The result is a series of historical pictures, almost perfect in their accuracy. If Merezhkovsky had no other merit than this faithful portrayal of the past, his novels even then would be read with interest and pleasure. Some critics have remarked that the most glaring defect in his books lies in their construction. His novels often disregard the laws relating to this sort of literature, which demand the clever grouping of the characters and events around a principal hero. It is true that this unity and the sense of proportion absolutely necessary for any sort of harmony are not to be found in his works. The details predominate to the detriment of important facts; the people of secondary importance are sometimes drawn better than the heroes themselves, whose adventures are entirely unconnected. There is a series of jumps from one situation to another, with gaps and interruptions of considerable length, which break the chain of events. It is for this reason that, instead of seeing a historical fresco, we see a whole gallery of sketches, executed with subtle artistry, but insufficiently connected with the main action of the drama. These observations apply especially to the first attempt of the young author: "The Death of the Gods"; "The Resurrection of the Gods" and "Peter and Alexis" are more skilfully composed. They indicate a stronger tendency towards unity; one feels that an infinitely firmer and more experienced brush has been used; the colors are richer and they do not suffer from that monotony of effect and of color so noticeable in "The Death of the Gods," where the author too often uses the same devices. As to the characters of Leonardo da Vinci and Peter the Great, they are very carefully worked out, and the events in the lives of the Italian master and the Russian Tsar are narrated with magnificent psychological analysis, which forces the reader to sympathize with the heroes even more than he would naturally.