St. Petersburg is considerably indebted to the art of sculpture: public monuments adorn her squares and gardens. Indeed the art of sculpture has, like the sister arts of architecture and painting, been forced into preternatural proportions. In the large area within sight of the church of St. Isaac and of the Admiralty, stands conspicuously one of the few successful equestrian statues in modern or ancient times, the colossal bronze to Peter the Great. The huge block of granite, which is said to weigh upwards of 15,000 tons, was conveyed from a marsh, four miles distance from St. Petersburg, by means of ropes, pulleys, and windlasses, worked by men and horses. A drummer stationed on the rock itself gave the signal for onward movement. It would seem that the methods used in Russia to this day for transporting granite monoliths, are curiously similar to the appliances of the ancient Egyptians for moving like masses. In point of art this equestrian statue, though grand in conception, is, after the taste of barbarous nations, colossal in size. Peter the Great is eleven feet in stature, the horse is seventeen feet high. The nobility lies in the action, the horse rears on his hind legs after the favourite manner of Velasquez in well-known equestrian portraits of Ferdinand IV. The attitude assumed by the great Emperor is triumphant, the fiery steed has dashed up the rock and pauses as in mid-air on the brink of the precipice. The idea is that Peter the Great surveys from the height the capital of his creation, as it may be supposed to rise from the waters. His hand is stretched forth for the protection of the city. This work, like many other proud achievements in the empire, unfortunately is not Russian. The design is due to the Frenchman Falconet; Marie Callot is said to have modelled the head, and the casting was done by Martelli, an Italian. Falconet, in order to be true to the life, carefully studied again and again a fine Arab horse, mounted by a Russian general who was famous as a rider; the general day by day made a rush up a mound, artificially constructed for the purpose, and when just short of the precipice the horse was reined in and thrown on its hind legs. The artist watched the action and made his studies; the work accordingly has nature, movement, vigour. I may here mention that I have nowhere found such large masses of stone conveyed from place to place as here in St. Petersburg. It is true I have seen marble fresh from the mountains of Carrara tugged along by teams of bullocks, but I have nowhere witnessed so much power brought to bear as in the transit of the granite used in the immense memorial to the Empress Catherine.