The monument of his reign is the church in the Grand Place. Dedicated to the "Intercession of the Holy Virgin," it was built at Ivan's command, and at the expense of Kazan, to commemorate the conquest of that town, which fell on the first of October 1552. Commenced in 1553, it was completed six years later and consecrated by the Metropolitan Macarius on the day of its patron saint. The name of its architect is unknown. Tradition asserts that Ivan, to make sure that this church should be "the crowning effort of his wonderful genius," put out his eyes. There is no evidence in support of this story, and it is unlikely that Ivan would have done a thing so usual. Many writers have asserted that this fantastic edifice is a mixture of the Gothic, Moorish, Indian, Byzantine and other styles of architecture. As a matter of fact it is but an exaggeration of the Russian style, an agglomeration of domes, towers and spires, one or other of which may be found on many buildings in "wooden Russia." In the chapter on "Ecclesiastical Moscow" the reader will find further information on this point. It appears to embody the salient features of many styles, eastern and western, and the whole, if neither beautiful nor magnificent is strikingly imposing and original. Unlike other Russian churches the belfry instead of being at the west end, is at the east. Nine of its chapels are each surmounted by a lofty roof differing from the others. The central one, that dedicated to the Virgin, has a high tower and wonderful spire, the paintings on its internal converging sides adding to its extravagant proportions. The other eight chapels on this floor surround the spire and are covered with the usual arched vault supporting longer or shorter cylindrical towers, surmounted with cupolas of different forms and sizes. One, has apparently large facets; another bristles like the back of a hedgehog; a third bears closest resemblance to a pine-apple, a fourth to a melon; a fifth is in folds, another has spiral _gonflements_--none are plain. A covered gallery extends from north to south, with roofed and spired stairways leading up to the church level, and a narrow passage and outside wall enclose the remaining chapels. The quaint belfry with its Russo-Gothic spire and bright roofing, being unlike aught else, is in keeping with the general design. Outside, the central dome is brightly gilt, the others are painted in gaudy colours, and the whole of the exterior is decorated with crude patterns in strong contrast. Its design is bizarre; its colour is motley; the two both harmonise and contrast--the whole fascinates. It is at once both a nightmare and a revelation. Like an impressionist's picture it rivets attention by apparent strength and seeming originality. It cannot be forgotten, yet it repels by its egregious fatuity. It is the over-inflated frog at the instant of explosion. It is not even known by its correct name: covering the remains of a [Illustration: VASILI BLAJENNI]