The St. Sophia, in Constantinople, is the model upon which all Russian churches are built. It was imitated everywhere, but never equalled, not even by St. Mark's in Venice. There was lack both of material and skill to build an arch with a span of one hundred and twenty-six feet. What could not be accomplished in width was attempted in height. The domes became narrow and tall, like towers. The rough stone, handled without art, rendered clumsy pillars and thick walls necessary, in which the windows, like embrasures, are cut narrow and deep. The brightest light falls through the windows in the thinner wall which supports the cupolas. Nearly all churches are higher than they are long and wide. The clumsy tetragonal pillars contract the already narrow space. One has nowhere a free view, and a mystic twilight reigns everywhere. The most famous Russian churches can only accommodate as many hundreds as a Gothic cathedral can thousands. It is true most of them were built by Italian masters; but the latter were obliged to conform to the rules and forms already in use. Since the architectonic conditions were unfavorable to the creation of a magnificent whole, an attempt was made to ornament the individual parts with brilliancy and magnificence. Not contented to gild the churches inside and out, the floors were paved with half-precious stones, and the pictures (of no artistic value) were covered with jewels, diamonds, and pearls. Only the faces and hands are painted; the garments, crown, and all else are plated with silver, gold, and jewels. Sculpture is entirely prohibited, as far as representing the human form is concerned; but they do not hesitate to represent God himself on canvas. The gilt background is of itself disadvantageous for the carnation of the pictures, and added to this are the long-drawn outlines of the Byzantine and old German schools, without the genuine feeling of the latter. Gigantic scarecrows gaze down from the cupolas, meant to represent the Virgin Mary, Christ, St. John, or God the Father. A Russian buys no holy picture that is not quite black or faded out. A lovely Madonna of Raphael, or a fine Sebastian of Correggio, does not seem to him expressive. His creed needs the obscurity of his church--the clouds of incense which at every mass veil the mysterious movements of the priests. The Byzantine element in the Russian architecture is then historically easy to explain. The Moresque originated with the necessity of decorating the individual parts, and relates only to these. The railings of the Ikonostase are interlaced with vines, garlands, and animal forms. The flat walls, principally where they are not gilt, are decorated with leafwork, rosettes, and twining vines. Where this could not be cut in stone it was painted, and the deficiency in drawing was supplied by a variety of the most glaring colors. Of course, they remained far behind the tasteful, artistic arabesques of the Alhambra and the Alcazar.