itself I have already spoken: it stands conspicuous on the right bank of the Neva, opposite the English Quay, and is by far the most classical and chaste of its size in St. Petersburgh, and does honour to the taste and ability of its architect, Kakorinov, a native of Siberia. It is a square structure, detached from every other building, with an elevation consisting of a basement and two stories. In the centre and at each end there is a handsome portico of four Doric columns, rising from the upper part of the basement story, and reaching to the entablature which crowns the whole edifice. The centre portico of the principal façade is surmounted by a pediment, the tympanum of which is filled with appropriate bas-reliefs. Behind it rises a very low cupola. The sides of the building are without porticos in the centre, but in other respects their elevation differs little from the front. The principal entrance is in the middle of that projecting part of the basement which supports the central portico; but for an institution of such magnitude such an entrance is mésquine and not in keeping with the rest. This is the only defect of its exterior. Internally every part is a perfect model of architecture, and as the plan, as well as the elevation of this really beautiful Palace is deserving of admiration, I prevailed on my publisher, to whom more authors than one are indebted for a very fair proportion of their fame, to add a sketch of both, notwithstanding the already extensive number of graphic and xylographic illustrations, which I have successfully claimed at his hands, in hopes of adding a proper degree of interest to the work.

A magnificent staircase, with double flights of steps of granite, leads to a grand pentagonal landing-place, with broad galleries around it, supporting by means of Ionic columns the cupola, which crowns the whole. From this we entered the rotunda, a fine apartment, of exquisite pro

portions, decorated by statues and busts. On the right, a large door opens into the conference room, which is of considerable length and width, having in the centre, and at its upper end, a large table, placed on a platform, at the head of which stands the full-length portrait of Nicholas, under a rich canopy. The walls, opposite the windows of this room, are hung with large paintings, the productions of Russian artists. I particularly noticed the view of Kazan, by Agrumoff, one of the painters of whom the Russians are justly proud; and another picture of great merit by the same master, representing the Coronation of Michail Federovitch. There is also a spirited portrait of Peter riding his charger at Poltawa, by Shebonoff. On the left of the rotunda, another large door leads to a long gallery of models from the antiques, ranged right and left, and very complete. Beyond this are the spacious rooms occupied by the several classes of students residing in the establishment. The inner court of the building is circular, and around this extends the museum of the Academy. The centre of the court is occupied by a fine copy of the celebrated monument to Minin and Pojarskï, by Martos, a living Russian sculptor, worthy to rank with the most eminent of modern times.

The museum of the Academy is not rich in valuable paintings; neither does it possess many very extraordinary specimens of classical sculpture; but among the latter it is impossible not to admire one of those bold conceptions and finished productions of Michael Angelo, which are so rarely to be met with in foreign collections, representing the stooping figure of a young man, five feet high, cut out of a solid block of the whitest marble. It is a most exquisite piece of sculpture. Not far from this, in a division of the museum apart, stands a copy of the colossal statue of Napoleon, by Chaudet, presented by Count Wittgenstein.