Not without cause is this proud boast attributed to the peasant's son; for Lomonosoff was the academy, at least on the Russian side. The breadth of his knowledge seems a marvel, even in days when a special student is expected to be an encyclopedic man, with the whole of nature for his province. He wrote in Latin and in German before he wrote in Russ. He was a miner, a physician, and a poet. He was a painter, a carver, and draughtsman. He wrote on grammar, on drugs, on music, and on the theory of ice. One of his best books is a criticism on the Varegs in Russia; one of his best papers is a treatise on microscopes and telescopes. He wrote on the aurora borealis, on the duties of a journalist, on the uses of a barometer, and on explorations in the Polar Sea. In the records of nearly every science and art his name is found. Astronomy owes him something, chemistry something, metallurgy something. But the glory of Lomonosoff was his verse, of which he wrote a great deal, and in many different styles; lays, odes, tragedies, an unfinished epic, and moral pieces without end. The rank of a great poet is not claimed for Michael Lomonosoff by judicious critics. No creation like Oneghin, not even like Lavretski, came from his pen. His merit lies in the fact that he was the first writer who dared to be Russian in his art. But though it is the chief, it is far from being the only distinction which Lomonosoff enjoys, even as a poet. The mechanism of literature owes to his daring a reform, of which no man now living will see the end. The Russ are a religious people, to whom phrases of devotion are as their daily bread; but the language of their Church is not the language of their streets; and their books, though calling themselves Russ, were printed in a dialect which few except their popes and the Old Believers could understand. This dialect Lomonosoff laid aside, and took up in its stead the fluent and racy idiom of the market and the quay. But he had a poetic music to invent, as well as a poetic idiom to adapt. The poetry of a kindred race--the Poles--supplied him with a model, on which he built for the Russ that tonical lilt and flow, which ever since his time has been adopted by writers of verse as the most perfect vehicle for their poetic speech. But greater than his poetic merit is the fact on which writers like Lamanski love to dwell, that Lomonosoff was a thorough Russian in his habits and ideas; and that after his election into the academy, he set his heart upon nationalizing that body, so as to render it Russian; just as the Berlin Academy was German, and the Paris Academy was French.