of the sky. Though they are far from being as beautiful in form or coloring as those of Moscow, they satisfy us at the moment.
If it is on a winter night that we take up our stand here, we may catch a distant glimpse of the numerous "skating-gardens," laid out upon the ice cleared on the snowy surface of the canal. The ice-hills will be black with forms flitting swiftly down the shining roads on sledges or skates, illuminated by the electric light; a band will be braying blithely, regardless of the piercing cold, and the skaters will dance on, in their fancy-dress ball or prize races, or otherwise, clad so thinly as to amaze the shivering foreigner as he hugs his furs.
By day the teamsters stand upon the quay, with rough aprons over their ballet-skirted sheepskin coats, waiting for a job. If we hire one of them, we shall find that they all belong to the ancient Russian Artel, or Labor Union, which prevents competition beyond a certain point. When the price has been fixed, after due and inevitable chaffering, one lomovoi grasps his shapeless cap by its worn edge of fur, bites a kopek, and drops it in. Each of the other men contributes a marked copper likewise, and we are invited to draw lots, in full view, to determine which of them shall have the job. The master of the Artel sees to it that there is fair play on both sides. If an unruly member presumes to intervene with a lower bid, with the object of monopolizing the job out of turn, he is promptly squelched, and, though his bid may be allowed to stand, the man whose kopek we have drawn must do the work. The winner chee-ee-eeps to his little horse, whose shaggy mane has been tangled by the loving hand of the domovoi (house-sprite) and hangs to his knees. The patient beast, which, like all Russian horses, is never covered, no matter how severe the weather may be, or how hot he may be from exercise, rouses himself from his real or simulated slumber, and takes up the burden of life again, handicapped by the huge wooden arch, gayly painted in flowers and initials, which joins his shafts, and does stout service despite his sorry aspect.
But the early summer is the season when the Fontanka is to be seen in its most characteristic state. The brilliant blue water sparkles under the hot sun, or adds one more tint to the exquisite hues which make of the sky one vast, gleaming fire-opal on those marvelous "white nights" when darkness never descends to a depth beyond the point where it leaves all objects with natural forms and colors, and only spiritualizes them with the gentle vagueness of a translucent veil. Small steamers, manned by wooden-faced, blond Finns, connect the unfashionable suburban quarters, lying near the canal's entrance into the Neva on the west, with the fashionable Court quarter on the northern quays at its other entrance into the Neva, seven versts away. They dart about like sea-gulls, picking their path, not unfraught with serious danger, among the obstructions. The obstructions are many: washing-house boats (it is a good old unexploded theory in Petersburg that clothes are clean only when rinsed in running water, even though our eyes and noses inform us, unaided by chart, where the drainage goes); little flotillas of dingy flat-boats, anchored around the "Fish-Gardens," and containing the latter's stock in trade, where persons of taste pick their second dinner-course out of the flopping inmates of a temporary scoop-net; huge, unwieldy, wood barks, put together with wooden pegs, and steered with long, clumsy rudders, which the poor peasants have painfully poled--tramp, tramp, tramp, along the sides--through four hundred miles of tortuous waterways from that province of the former haughty republic, "Lord Novgorod the Great," where Prince Rurik ruled and laid the foundations of the present imperial empire, and whence came Prince-Saint Alexander, to win his surname of Nevsky, as we have seen, at the spot where his monastery stands, a couple of miles, at most, away.
The boatmen, who have trundled all day long their quaint little barrows over the narrow iron rails into the spacious inner courtyards of the houses on the quay, and have piled up their wood for winter fuel, or loaded it into the carts for less accessible buildings, now sit on the stern of their barks, over their coarse food,--sour black bread, boiled buckwheat groats, and salted cucumbers,--doffing their hats and crossing themselves reverently before and after their simple meal, and chatting until the red glow of sunset in the north flickers up to the zenith in waves of sea-green, lilac, and amber, and descends again in the north, at the pearl pink of dawn. Sleep is a lost art with these men, as with all classes of people, during those nerve-destroying "white nights." When all the silvery satin of the birch logs has been removed from their capacious holds, these primitive barks will be unpegged, and the cheap "bark-wood," riddled with holes as by a mitrailleuse, will be used for poor structures on the outskirts of the town.
On the upper shore of this river, second only to the Neva in its perennial fascination, and facing on the Prospekt, stands the Anitchkoff Palace, on the site of a former lumber-yard, which was purchased by the Empress Elizabeth, when she commissioned her favorite architect, Rastrelli, to erect for Count Razumovsky a palace in that rococo style which he used in so many palaces and churches during her reign and that of Katherine II.,--the rococo style being, by the way, quite the most unsuited discoverable for Russian churches.
Count Alexei Grigorevitch Razumovsky was the Empress Elizabeth's husband, the uneducated but handsome son of a plain Kazak from Little Russia, who attracted the attention of Elizaveta Petrovna as his sweet voice rang out in the imperial choir, at mass, in her palace church. When the palace was completed, in 1757, it did not differ materially from its present appearance, as a painting in the Winter Palace shows, except that its colonnade, now inclosed for the Imperial Chancellery and offices, then abutted directly on the Fontanka. It has had a very varied ownership, with some curious features in that connection which remind one of a gigantic game of ball between Katherine II. and Prince Potemkin. Count Razumovsky did not live in it until after the Empress Elizabeth's death, in 1762. After his own death, his brother sold it to the state, and Katherine II. presented it to Prince Potemkin, who promptly resold it to a wealthy merchant-contractor in the commissariat department of the army, who in turn sold it to Katherine II., who gave it once more to Potemkin. The prince never lived here, but gave sumptuous garden parties in the vast park, which is now in great part built over, and sold it back to the state again in 1794. It was first occupied by royalty in 1809, when the Emperor Alexander I. settled his sister here, with her first husband,--that Prince of Oldenburg whose territory in Germany Napoleon I. so summarily annexed a few years later, thereby converting the Oldenburgs permanently into Russian princes.
The Grand Duke Heir Nicholas used it from 1819 until he ascended the throne, in 1825, and since that time it has been considered the palace of the heir to the throne. But the present Emperor has continued to occupy it since his accession, preferring its simplicity to the magnificence of the Winter Palace.
The high walls, of that reddish-yellow hue, like the palace itself, which is usually devoted to government buildings in Russia, continue the line of offices along the Prospekt, and surround wooded gardens, where the Emperor and his family coast, skate, and enjoy their winter pleasures, invisible to the eyes of passers-by.
These woods and walls also form the eastern boundary of the Alexandra Square, in whose centre rises Mikeshin and Opekushin's fine colossal bronze statue of Katherine II., crowned, sceptred, in imperial robes, and with the men who made her reign illustrious grouped about her feet. Among these representatives of the army, navy, literature, science, art, there is one woman,--that dashing Princess Elizaveta Romanovna Dashkoff, who helped Katherine to her throne. As Empress, Katherine appointed her to be first president of the newly founded Academy of Sciences, but afterward withdrew her favor, and condemned her to both polite and impolite exile,--because of her services, the princess hints, in her celebrated and very lively "Memoirs."
In the Alexandra Theatre, for Russian and German drama, which rears its new (1828) Corinthian peristyle and its bronze quadriga behind the great Empress, forming the background of the Square, two of the Empress's dramas still hold the stage, on occasion. For this busy and energetic woman not only edited and published a newspaper, the greater part of which she wrote with her own hand, but composed numerous comedies and comic operas, where the moral, though sufficiently obvious all the way through, one would have thought, in the good old style is neatly labeled at the end. These were acted first in the private theatres of the various palaces, by the dames and cavaliers of the Court, after which professional actors presented them to the public in the ordinary theatres.
It is in vain that we scrutinize the chubby-cheeked countenance of the bronze Prince Potemkin, at Katherine II.'s feet, to discover the secret of the charm which made the imperial lady who towers above him force