Golden Moscow extended far beyond the Kremlin; one of its most characteristic corners is the Vosskresenski Vorot, where stands the little chapel sacred to the Iberian Mother of God, the exact copy of a most venerable ikon, brought in 1648 from Mount Athos, for which this chapel was erected by the Tsar Alexis. The picture shows a scratch on the right cheek, the work of an infidel, who was converted by seeing the blood that instantly exuded from the wound. The adornments are a brilliant crown, with a veil of pearls, a large gem on the brow, another on the shoulder; gold brocade with enamelled plaques representing angels' heads, and the usual lavish decoration of the vestments, complete this unusual ikon, which is probably the most venerated of any in Moscow. The chapel is exceedingly rich and always surrounded by worshippers; thirteen silver chandeliers with tapers are always burning before the ikonostas, and to this day the Tsar on visiting Moscow dismounts at this chapel before entering the Kremlin. The architecture of the wall and gate is a modification of the Russian style of the 16th century as influenced by the purely utilitarian or military style of Podolia and north-east Germany, but the spires that crown the old square towers are of a later date and are probably due to the love of the Tsar Alexis for the Gothic which he tried in vain to blend with the heavy low wooden models of early Russia. The buildings of this period are mostly characterised by the quaint mixture of Lombard and Gothic, but there is one fragment, the ruins of the archiepiscopal palace at the Krutitski, which exhibits the more ornate style then considerably followed for "Halls," in which the influence of Byzantium predominates. The Krutitski monastery was first established within the Kremlin, but many centuries ago was transferred to the suburbs near the Krasnoe Kholmski Bridge, where the remains of the seventeenth century "dwelling" of the metropolitan may now be seen serving as the gateway to the entrance of a barracks. It is fronted with glazed tiles of many colours, yellow and green are the most conspicuous, and of many shapes. The window casements are purely Byzantine, but the vaulted archways and the roof are as markedly Russian. Only its outer side has been left in its original state, with the quaint designs, particularly that of the "Busy Bee," glaring from the gaudy tiles; the other side, that within the courtyard, is now covered with the usual distemper (_v._ p. 122).