The Sun.
London, England, 1848-12-26 00:00:00

THE SUN,

THE CHURCH OF ST. ISAAC AT

ST. PETERSBURGH.

The following descriptive account of the magnifi-
cent cathedral of St. Isaac, erected by the Chevalier
de Montferrand, we extract from the Builder. The
paper was read by Professor Donaldson, at the open-
ing meeting of the present session of the Royal In-
stitute of British Architects:—
One of the most important features of this insti-
tate is the noble body of distinguished professors of
our art who compose the list of honorary and corres-
ponding members. It forms the immediate link of
connexion between the professional men of this
and foreign lands. We have thus the privilege
of knowing the imposing edifices which arise in the
principal cities of the continent, and are stimulated
by their example—instructed by their genius. If in
point of some facilities in matters of construction we
have the advantage of them, they, on the other hand,
have more frequently the opportunities of bringing
into co-operation the sister arts, and by the abun-
dance of the means placed at their disposal, can more
profusely adorn their edifices by the production of the
pencil and the chisel, and by an abundance of rare
and exquisite materials, such as granite, marble,
bronze, and precious stones, can give that splendour
of enrichment in vain to be looked for in our modern
buildings, until the present completion of the House
of Lords by our distinguished member, Charles Barry.
I have had occasion in a previous session, to call
your attention to the stupendous column of Alexan-
der, erected by the present Emperor of Russia, to the
memory of his predecessor and beloved brother, after
the designs of the Chevalier de Montferrand. In that
work we particularly admired the monolithic shaft of
granite, and the mechanical means employed in the
elevation of the huge block. The Chevalier, our
honorary and corresponding member, has since fa-
voured us by sending to the library a superb volume,
illustrative of the magnificent church of St. Isaac,
just completed : a monument of such leading conse-
quence in every respect, and holding so important a
rank in the cathedral churches of Europe, that it well
deserves a passing notice, as introducing us to a pe-
culiar combination- of plan, and an application of gra-
nite and iron, and other ingenious processes, on so
large a scale, and in some points of so novel a nature,
es to be very instructive and interesting.
The origin of the church of St. Isaac dates from
the foundation of St. Petershurgh ; for Peter the
Great conceived the idea of erecting a place of wor-
ship under the invocation of the saint ; but he was
not able to do more than construct a provipional
church of wood, in the naval yard, which was shortly
after burned. ,The Czar then laid the foundation. in
1717 of the second church of St. Isaac, not far from
the Neva, on the site of the present Palace of the
Senate.

This church was also partly burned by fire in 1735,
and the quarter of St. Isaac becoming more populous,
and a place of greater resort, the Empress Catherine
directed the erection of a new church in honour
of this saint, in that part of the city, and the
architect Rinaldi prepared the designs, and it was
commenced in 1768. It was intended to build this
church entirely of marble, but the Death of the Cza-
rina took place when it had only been carried up as
high as the entablature, and the Emperor Paul 1.,
anxious to clear away the immediate vicinity of the
church, in order to render the site less obstructed, and
the original plan more complete, directed the archi•
tect Brenna to finish it provisionally, in the meantime
omitting or diminishing some of the principal fea-
tures, until its proper completion, when a develop-
ment more commensurate with the ideas of the Em-
peror, the church, and the people could be carried
into effect.

The plan of this church was strictly in conformity
with the tradition and usages of the Greek church,
the national rite of the Russian empire. It consisted
of a Greek cross, of four equal arms, having apsidal
ends, the intersection or crux of the arms being sur-
mounted by a dome with four abutting chapels at the
angles, also surmounted by internal domes and exterior
steeples. There was a projecting tower at the west
end advancing considerably in front of the mass of the
church, with a lofty steeple and entrance doorway;
and there were doorways at the north and south at the
ends of the transepts. There were three iconastases of
the class described by Herr Hallman, in his able pa-
per on the Greco-Russian Church, contained in the
second part of the Transactions of the Institute. The
plan, therefore, is simple and majestic—its parts well
defined and presenting a great variety of effects. The
perspective view also offers a busy and picturesque
aspect. The lofty spire and the central dome, sur-
rounded by its four minor turrets, has an effective
and distinct character, devoid of monotony, although
perhaps not very pure in detail, or severe in its com-
position as a whole. Tha outside dimension of the
square mass of the church was 173 feet. Its greatest
width from outside to outside of the apsidal ends of
the transept was 222 feet. Its extreme external length
from the front of the tower to the exterior of the east-
ern apsis 280 feet; consequently it was an edifice of
no mean dimensions.

The magnificent ideas of the Emperor, who desired
to have a temple commensurate with the vast empire
over which his rule extended, led him to submit to
public competition the project for the new fabric ; but
none of the plans submitted seemed to meet the public
expectations.
Alexander L then directed the Chevalier de Mont-
ferrand to prepare designs, with the express command
to preserve as much as possible of the old church,
particularly the space occupied by the three iconas-
tases, or altar screens, already consecrated. Many
projects were consequently presented to the Czar, who
adopted one, which seemed best adapted to the special
purpose of its destination, and combining best with
the buildings by which it was more immediately sur-
rounded.

In order to carry the works into effect, the architect
immediately proceeded to clear the locality and to
erect spacious workshops, offices for the clerks, habi-
tations for certain of the police and officials, barracks
for a military guard, a steam engine, and other indis-
pensable contrivances.
The foundations were immediately excavated to the
depth of above 33 feet below the surface of the
ground. Fir piles were then driven, throughout the
whole extent, 42 inches in diameter and 21 feet in
length, their distance apart being equal to their dia-
meter. The earth around the heads of the piles was
cleared to the depth of 14 inches, and charcoal driven
in to fill up the vacuity, and the whole surface pre-
sented 10,762 piles.

Upon these were placed two courses of granite,
composed of large black blocks. The points of support,
and particularly the foundations of the four piers of
the dome, were also carried up in solid granite, and
the rest filled up with ordinary construction, but
forming a regular mass of compact masonry through-
out the whole surface of the monument.

While these works were proceeding, the architect
was directed to proceed to Finland, to examine the
quarries whence were to be extracted the 48 mono -
lithic blocks for the shafts of the columns of the por-
tico. These quarries are situated in two small islands
on the shores of the Gulf Finland, between Vibourg
and Fredreicsharn. These shafts in the rough were
7 feet in diameter, and 56 feet long. They were em-
barked two on a vessel, and then transported by the
Neva to St. Petersburgh, and there finished off.
These columns are certainly the largest ever employed
for such a purpose. Those of the Pantheon at Rome
are only between 46 and 47 feet long, and they exceed
in size any others of antiquity now remaining. The
peristyle of the dome has 24 columns, 42 feet high.
Those noble columns which many of us know, in the
Baths of Diocletian, and those in the Baths of Cara-
cella, are only 38 feet high.
Again, there are 32 columns in the steeples of this
church, also monoliths; they are 30 feet high—thus
presenting a series of 104 monolithic columns in gra-
nite, in number and size, and costliness of material,
excelling every other monument of ancient or modern
times.

We will now proceed to
typpe lanooff
twthhieethbuusrieledi
m g, which presents the elementary
cross. This, however, is hardly marked
distinctness as in the older church, there being se_
veral supplementary chapels and vestibules, which
give somewhat of complexity to the arrangement.
In the centre is the intersection of the four equal arms
of the cross, surmounted by the dome; and again at
the extreme angles of the parallelogram are four square
divisions, surmounted by the four steeples. The church
is placed due east and west—the altar to the east,
with its several iconostases, the principal entrance
at the west end, with its three doorways under an octa-
style portico projecting only one intercolumniation
from the body of the building. The east end has a
similar portico. In the ordinary arrangement of
churches we should expect that the west end would
form the principal entrance, and consequently would
receive the greater degree of embellishment. But in
this instance there are two noble porticoes at the ends
of the north and south transepts ; octastvle, like those
at the east and west end, but having a depth of three
intercolumniations instead of one, with deeply recessed
large niches, the whole composition being an imitation
of that at the Pantheon of Rome in every respect. Ap-
parently, this greater magnificence at these points
arises from local considerations, as facing more im-
portant approaches and more imposing public edifices.
The bases of the columns of these porticoes, as also
the caps, are of bronze ; the shafts 6 feet 6 inches in
diameter, 11 feet apart, and 45 feet 6 inches high,
giving a total height to the columns, including the
base of the capital, of 56 feet 6 inches. The enta-
blature is 14 feet 6 inches high; together 71 feet.
Each portico is surmounted by a pediment, crowned
by statues ; and the summit and acroteria, and the
tympanum, are enriched with bronze groups. This
order runs through the whole exterior of the church,
and has above it a double attic, equal in height to half
that of the entire principal order, an enormous dis-
proportion, which renders the building top heavy, and
tends to detract from the vastness of the order be-
neath. It is most likely that the architect may have
adopted this lofty attic to hide the roof; but the ex-

pedient has been more destructive to the effect of the
building than the apprehended unsightliness of the
roof.
We will now enter the church under the western
portico, and immediately we are admitted into a ves-
tibule, similar to the narthex of the ancient Christian
temple, with smaller vestibules to the right and left,
which are surmounted by the steeples already alluded
to. There is a centre nave, 43 feet wide, 175 feet
6 inches long, up to the iconostasis, and presenting a
tototal length from the inside of the eastern to the
inside of the western wall, of about 278 feet. The
greatest width inside between the walls is 153 feet.
The grand iconostasis, of white marble, rises up
and forms the altar screen, or image bearer, in front
of the large piers which terminate the eastern arm
of the cross. It is 150 feet wide and 70 feet high.
Three steps lead up to the level of the altar plat-
form. There are three lofty circular-headed door-
ways, about 14 feet wide by 34 feet high. The princi-
pal order is 46 feet wide, the eight Corinthian columns
37 feet 6 inches high, the shafts and those of the
piasters are fluted, and consist of exquisitely inlaid
malachite from the province of Perm, discovered in
1631, in a copper mine of M. Demidoff, the largest
seam ever known, being 17 feet 6 inches long, 8 feet
2 inches wide, and 4 feet 6 inches high, the weight
of which mass has been calculated at 120,0001b5.,
or 50 tons. The bases and capitals are of bronze
gilt. I should state that there is a cylinder of cast
iron to each column, forming a core, covered by a
brass cylinder, to which the malachite is attached, the
pieces being fitted with such exquisite skill that the
columns and pilasters appear to be of one enormous
block. The whole iconostatis has incrustations of
porphyry, jasper, malachite, and other precious stones
, of the country. An attic, 20 feet high, rises above
the order, which in the centre is again surmounted
by a supplemental attic, flanked by two angels,
and forming the pedestal upon which is raised
, the cross, with a group of angels at the base,
, in the attitude of prayer, and grief, and devotion.
[ Groups representing the resurrection of our Saviour
and the ascent of the Tirgin Mary flank the
circular-headed aperture of the central doorway.
There are three tiers of pictures of saints, the Virgin,
our Saviour, and the Almighty, who occupy the
central compartment, and other sacred personages the
ride divisions, all painted on a gold ground, clad in
rich vestments, and bedecked with jewels. In con-
fornity with the canons of the Greek Church,- there
are no other figures in relief than the angels. The
door which closes the centre aperture is of silver, 34
feet high; the side doors are of marble. A profusion
of lamps, all of massive silver, are pendant from the
ceiling, hanging in front of the pictures.
Behind the iconostasis are three sanctuaries, the
central one with the high altar, which is surmounted
by a baldachin, or canopy, supported by eight marble
columns. Each of the side chapels has its own ico-
nostasis and altar, dedicated respectively to St. Alex-
an ler Newsky and St. Catherine. These secondary
iconostases are 40 feet wide each, and above 25 feet
high, but a central attic and surmounting group
of the Ascension increase the total height of
the loftiest part to 40 feet. They are of white
marble, designed in the cinquecento style, and ela-
berately ornamented, the panels being filled with
gosgeous pictures of saints on a gold ground. But,
in truth, all these paintings, although executed
with consummate art, are but temporary, as
tle,y are ultimately to be taken out and re-
placed with resplendent mosaics. In fact, this
group of three sanctuaries, with their iconostases,
altars, and side door-screens, dividing the central
altar piece from the side chapels, composed of
the most equisite marble, profusely enriched with
sculptures, paintings, and bronze gilt, make a
dazzling group, of which we can form no adequate
conception, even if we can in imagination realise the
restoration of the sanctuary of the most ornate of our
principal cathedrals, carved and painted throughout—
emblazoned in all the pomp of the most profuse poly-
chromy, and abounding with statues and groups of the
Saviour, the Virgin, the Patriarchs, the Prophets, the
Apostles, Saints, and Martyrs of the religious calen-
dar of the middle ages.
The general decoration of the interior of the church
consists—first, of to low stylobate or dado, nearly five
feet high, above which is a Corinthian order of
c dumns and pilasters, 42 feet high ; and this is
again surmounted by a lofty attic, with pilasters and
cornice, 21 feet high. The loftiness of this attic, being
half that of the principal order, detracts materially
from the importance of the order, and, in fact, there
seems no necessity for dividing the height into two,
for if the outer order of the porticoes had been con-
tinued inside the effect would have been nobler, and
the expectations of the beholder, excited by the
proportions and scale of the outer order, would have
been realised also within the church. From the top
of the attic spring the vaultings of the ceilings of the
church, which are sumptuously enriched. The cornice
of the attic is not of sufficient importance to act as
the impost of the vaultings. The intersection or
crux of the arms of the cross is surmounted by the
dome, 96 feet in diameter, and 196 feet high from the
pavement to the cupola of the lantern, and 332 to the
top of the cross. Immediately over the pendentives
formed by the intersection of the vaultings and the
naves and transepts, is a lofty stylobate, 27 feet high,
in the periphery of which are 12 angels, 19 feet high,
supporting consols.
The wall of the drum of the cupola is pierced by
twelve circular headed windows, and the order, 46
feet high, is Corinthian, like that of St. Peter's and
our own St. Paul's, and most other similar cathe-
drals. The pilasters are fluted. The dome rises to
a height of 40 feet above the entablature of the order
of the drum. It is not divided into compartments,
but forms a vast plain surface, decorated with a pic-
ture of the celestial glorification of the Virgin Mary.
In the centre of the dome is an aperture, 21 feet in
diameter, opening into an upper dome, formed by the
intermediate cone, and on the surface of this also a
painting of the glorification of the Redeemer. The
whole surface of the walls of the interior of the
church and vaultings, with the columns, pilasters, and
dressings, are all cased with white and various
coloured marbles, from Finland and Italy ; the
bases and caps are of bronze gilt in " or-
molu." For the purpose of procuring a white
marble superior even to that of Carrara, a Tuscan
company undertook to open a new quarry at Sera-
vez2sa. Bridges were constructed over torrents and
ravines, roads were formed on the sides of perpendi•
cular rocks, and habitations and workshops were
erected for the workmen, in order to provide this
choicer material. The marbles from Finland were
red, violet, black, and mixed, and were used in the
mosaic pavement, in the construction of the basement,
and in the four smaller cupolas to the steeples, at the
angles of the church. The Chevalier de Montferrand
has paid great attention to the decoration of the vault-
ings of the interior, which are distributed in large di-
visions. Forty colossal figures, in high relief, of gal-
vanised bronze, and in the proportion of 21 feet high,
form the chief features of this decoration. They re-
present the prophets, patriarchs, and angels, with their
various attributes. Some stand on corbels, others are
seated within niches.

I may be permitted, perhaps, here to call attention
to the enormous application of the electrotype or gal-
vanio-plastic process in the sculpture of this cathedral
by the architect. After having made very important
experiments, he was authorised to adopt this mode in
the execution of the metallic sculptures and carvings
for the following reasons :-
1. The identical reproduction of the sculpture
without chiselling.
2. The lightness of the pieces, which enabled the
architect to introduce sculptures of higher relief than
any hitherto known, and to fix the pieces suspended
from the vaultings, without fear of accident, or of
their being detached.
3. The great saving of expense between these and
castings in bronze.
The gilding also was effected by the same process,
and presented equal advantages.
The seven doors of the cathedral will be of bronze
and electrotype, the frame work being of the former,
and the sculptural parts of the latter. Three of these
doors are 30 feet high and 14 wide, the four others
17 feet 8 inches wide. They contain 51 bas-reliefs,
63 statues, and 84 alto-relievo busts, of religious sub-
jects and characters.
There is so remarkable a departure in the construc-
tion
thlof the dome from the systems hitherto adopted,
ontl
shall be perhaps pardoned in trespassing further
your attention by describing, with the aid of the
annexed diagram, the whole assemblage of this im-
portant feature.
In alluding to theustcupolas previously erected, the
recognises
to the genius of our
Chevalier pays a •
cnotvises St. Paul's " as the
illustrious Wren, just
seeadopunthirereproachable soli-
dity:'only existing dome
therefore,pre
it out in
potcombination of
elg a principle of Sir
Christopher,
wrought and cast iron and hollow
The walls of the drum of the domes.ar
in solid construction of brick, with tiers ofe carried
stone
bond up
and are above 8 feet thick. On the level of the top of
the cornice of the circular colonnade, which girds the
drum, there is a series of 24 cast-iron ribs, the feet
of which rest on a cast-iron plate seven feet wide,
which runs quite round the cirumference. The lowest
division of each rib rises to a height of about 23 feet,
in its narrowest part is 3 feet 4 inches wide, in its
broadest 5 feet, with upper and lower ribs, and the
central part lightened by large apertures. At their
head all the ribs are attached to a horizontal plate or
curb, 6 feet 3 inches wide, which follows the periphery
of the dome. At this height the rib is divided into
the one part about 2 feet 6 inches deep,
following- the sweep of the inner dome
for a height of 20 feet, at its summit bolted
to a cast iron perforated cylinder, 21 feet in
diameter, and 7 feet high; this forms the central
are rture at the summit of the inner dome. The
other part follo.vs the line of an intermediate cone,
w'iih a catenary outline, and similar to the one in
our St. Paul's ; it is also 21 feet long, and 2 feet 6

inches deep, and perforated to render it lighter.
At this height the heads of the ribs are again secured
to another horizontal plate or curb, which forms a
complete circle, and is 3 feet wide ; and this curb and
the ribs are tied to the cylindrical opening of the inner
dome, already mentioned, by radiating beams 2 feet
3 inches deep. The conical ribs have then another
length of 21 feet, and their heads are again connected
by another horizontal plate, from which spring the
circular ribs, about 16 feet long, forming a dome
to the intermediate cone, and their heads also
bolted to a cylinder, 8 feet 6 inches in diameter, and
18 inches high. But the upper portion of the ribs
diverge at top, so as to form a base for the octago-
nal cupolino, which consists of a series of cast-iron
story posts, ribs, and bracketings, inclusive of the
dome of the cupolino, with its ball and cross at the
apex, which last are of brass gilt. The filling in be-
tween the ribs consists of pots, the surfaces of which
were subsequently rendered with plaster, and painted
with sacred subjects. The sphere of the outermost
or third dome consists of a series of wrought-iron T
ribs tied to the conical dome by rods. The external
face of this outer dome is divided by 24 bold ribs,
and is covered with bronze gilt in three thicknesses
of leaves of ducat gold. The three principal gilders
of St. Peteraburgh were charged with the inspection
of the execution of this portion of the work, and re-
jected every leaf that had the slightest spot or blemish.
The whole entablature and flat, and the balustrade
over the peristyle of the drum of the cupola, likewise
consist of cast and wrought iron framing, faced with
plates of copper to form the profiles and mouldings.
The twenty-four pedestals of this ballustrade carry
winged angels of bronze about nine feet high, each of
a single casting.
The quantity of metal employed in the dome is as
follows :

Ducat gold

Copper s2i tons.
Brass
Wrought-iron 5241 tons.
Cast-iron 1,068 tons.

1,966- tons. 2471b5.
The foresight of the architect has provided the
following precautions against lightning, so much the
easier, as the summit of each dome is in metal ; at
the top of the crosses of the bell towers and of the
cupolino of the central dome are rods of platina, ter-
minating in a point; each dome at its springing has
isolated iron conductors, which go down to the
roofs ; and in the direction of the cast-iron rain water
pipes are continued in the interior of the walls down
to wells in the basement, the overflow of which dis-
charges into the town sewers.
In justification of the system here employed let
the architect speak for himself;—" We think," says
De Montferrand, " the mode we have adopted supe-
rior to that of any other cupola. For what can be
more absurd than those vaultings raised 250 or 300
feet in air, whose frightful weight, unceasingly in ac-
tion, tends to disunite the points of support which up-
hold them? Our new system offers a stable combina-
tion, which allows of no disunion, which has no thrust,
and which reduces to a tenth the weight of any pre-
vious combination. In our plan, the iron and bronze
entablature of the peristyle of the drum is not a mere
architectural embellishment : it is a solid girdle,
which embraces firmly the dome, so as to give it a
great stability ; and can the superiority of this system
be contested, when it is considered that here is em-
ployed the material which can alone, with prudent
care, brave the effects of a rigorous climate ?"
The arches and vaults of the nave and transcepts
and the soffits of the porticoes are carried out in like
manner by means of cast-iron girders, to which are
attached thg marble facings and decorative embellish-
ments.

The roofing is wholly of iron, covered with copper.
There are thirty-four small columns of cast-iron,
resting on the walls and vaultings of the ceiling.
These are tied together by a series of inverted queen
trusses of wrought and cast iron mixed, about six
feet apart, with wrought iron lathing to receive
the copper. The whole presents a very light effect,
and is very simple in its combination ; and although
the roof rises about nine feet above the level of the
attic outside yet it is not seen unless by those at a
very great distance from the building.
In determining the thickness of the drum of the
cupola, M. de Montferrand has adopted the prin-
ciple laid down by Fontana, of making the
thickness of this cylindrical wall equal one-tenth
of the internal diameter, although Rondelet and
others allow a much less thickness. Notwithstanding
a substantial base for this great thickness of wall, and
the projecting architectural embellishments of the
dome, is afforded by the pendentives, which rise from
the four great piers of the dome, and form the circle
for the cylinder of the drum.
The raising of the monolithic shafts of the 24 co-
lumns of the exterior peristyle of the dome—each of
which weighed near 60 tons—to the height of 150
feet, was an operation requiring considerable skill.
Each shaft was surrounded by a stout casing, to
which were attached strong cables. It was then
placed on an immense truck, calculated for the size of
the vast block, and drawn by capstans upon an easy
incline to a platform, which was on a level with
the tops of the columns of the interior order, 42 feet
high. Upon this platform was a moveable incline 92
feet high, but with a very sharp rise, and up this the
monolith was again drawn_by capstans. At the sum-
mit was a large platform 180 feet square, upon which
was a moveable wooden framework, answering the
purpese of a crane, with blocks and falls. There
were twelve capstans around this framework. The
monolith, being dragged up the incline, reached the
summit, and, by its own weight tilting over, reached
the frame work ; it was then by it raised to a vertical
position and gradually lowered on a granite die pre-
pared to receive it, and which was cased with a bronze
base.

As soon as one monolith was in its place, the move-
able incline and the moveable platform and frame
were all wheeled round ready to raise the next
column ; and so on the operation was repeated
until th whole series were securely fixed in
their respective places. It only required two hours
to raise one of the shafts from the platform on a level
with the capitals of the inner order, and to fix it on its
base. Threw hundred men performed this operation ;
the most perfect order and silence were maintained
throughout, and the different movements directed by
the sound of a bell. A silver rouble was placed on
the base of each column in a hole sunk for the
purpose._

The first column was raised on the 17th of No-
vembar, 1837, just eleven years ago from this period ;
nor was the operation commenced without prayers to
Almighty God to bless the undertaking with success.
In two months the 24 columns were completely fixed,
and, be it remembered, in the very depth of a Rus-
sian winter.

The skeleton of the entablature of the peristyle
of the dome is of cast and wrought iron, resting
on the columns, and affixed to them by wrought iron
pins, which are let a considerable depth into the
shafts ; and the framework is also let into the
cylindrical wall of the dome, securely affixed to three
templates. The cornice, with its modillions and
mouldings, rests on cast-iron corbels ; the caissons
and rosettes of the inner soffit also rest on cast-iron
girders. The balustrading above is similarly framed,
and the pedestals support bronze figures of angels,
already mentioned, holding their attributes, each nine
feet high, anti of only a single casting, weighing
1 2-3 d tons. The balusters are also of bronze.

I may, perhaps, be permitted to observe that the
bronze bases, capitals, figures, and other decorative
details of this material on the outside are neither gilt
nor painted, consequently the dark tone of these
parts has a heavy appearance, and ill accord with
their purpose and the stonework of the outer facing.
In the presence of such an assembly, so compe-
tent to judge of the merits of this important
monument of our art, it would ill become me to
offer any remarks, other than those which I have
already made, upon the most striking points in re-
gard to taste and skill, which distinguish this produc-
tion of our honorary member. He has chosen the
most appropriate materials, and has with considerable
skill applied to his construction the improved system
which cast iron presents. I have not stopped to
consider whether he has adopted all the expe-
dients which we should consider necessary for
counteracting the expansion and contraction to be
expected in ironwork; particularly: as regards the
movement which might be expected at the feet
of the ribs of the dome, and which possibly we
might have regulated by rollers, and by allow-
ing space for the development to be expected
in a warmer temperature. The interval of
ten years must have proved the efficacy of his
provisions, and I should ill requite the courtesy
of our generous donor were I to analyse with the
severity of a critical eye the proportions and details
of this remarkable monument_ The unsparing nature
of the materials employed prove the pious liberality
of the Emperor and the nation. The careful skill
with which the architect has fulfilled his part, and
the deep feeling for decorative art with which he has
embellished the cathedral of the Russian capital, and
the brief spate of time in which he has erected the
lofty rile, must ever render the Church of St. Isaac
one of the most striking edifices of the nineteenth
century.

A. SIGNIFICANT ANSWER.—SOITIe few years ago, a
right Rev. prelate was giving the candidates for ordi-
nation 'n. few hints as to their future deportment as
clergymen. Among other matters, he touched upon the
subject of recreations, and suggested that it was rather
inconsistent with the clericjj character to be too much
addicted to the sports of the field. One of the Candi-
dates, feeling himaf•lf especially concerned in this part
of his Lordship's address, rather pettishly enquired—
., Why, my Lord, then I suppose that I am never to
hint ?" "Indeed, young gentleman," r.•plied his Lord-
ship, " if you ask my opinion, I think that you had
better do nothing else."—Church and State Gazette.