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 upon him so often the ground upon which they both now stand. He stares stolidly at the Prospekt, ignoring not only the Theatre, but the vast structures containing the Direction of Theatres and Prisons, the Censor's Office, Theatrical School, and other government offices in the background; the new building for shops and apartments, where ancient Russian forms have been adapted to modern street purposes; and even the wonderfully rich Imperial Public Library, begun in 1794, to contain the books brought from Warsaw, with its Corinthian peristyle interspersed with bronze statues of ancient sages, on the garden side,-all of which stand upon the scene of his former garden parties, as the name of the avenue beyond the plain end of the Library on the Prospekt-Great Garden Street-reminds us. Not far away is the site of the tunnel dug under the Prospekt by the revolutionists, which, however, was fortunately discovered in time to prevent the destruction of one of the fairest parts of the city, and its most valuable buildings. With the next block we enter upon the liveliest, the most characteristic portion of the Nevsky Prospekt, in that scant fraction over a mile which is left to us above the Anitchkoff Bridge.

Here stands the vast bazaar known as the Gostinny Dvor,-"Guests' Court,"-a name which dates from the epoch when a wealthy merchant engaged in foreign trade, and owning his own ships, was distinguished from the lesser sort by the title of "Guest," which we find in the ancient epic songs of Russia. Its frontage of seven hundred feet on the Prospekt, and one thousand and fifty on Great Garden and the next parallel street, prepare us to believe that it may really contain more than five hundred shops in the two stories, the lower surrounded by a vaulted arcade supporting an open gallery, which is invaluable for decorative purposes at Easter and on imperial festival days. Erected in 1735, very much in its present shape, the one common throughout the country, on what had been an impassable morass a short time before, and where the ground still quakes at dawn, it may not contain the largest and best shops in town, and its merchants certainly are not "guests" in the ancient acceptation of the word; but we may claim, nevertheless, that it presents a compendium of most purchasable articles extant, from samovari, furs, and military goods, to books, sacred images, and Moscow imitations of Parisian novelties at remarkably low prices, as well as the originals.

The nooks and spaces of the arcade, especially at the corners and centre, are occupied by booths of cheap wares. The sacred image, indispensable to a Russian shop, is painted on the vaulted ceiling; the shrine lamp flickers in the open air, thus serving many aproned, homespun and sheepskin clad dealers. The throng of promenaders here is always varied and interesting. The practiced eye distinguishes infinite shades of difference in wealth, social standing, and other conditions. The lady in the velvet shuba, lined with sable or black fox, her soft velvet cap edged with costly otter, her head wrapped in a fleecy knitted shawl of goat's-down from the steppes of Orenburg, or pointed hood-the bashlyk-of woven goat's-down from the Caucasus, has driven hither in her sledge or carriage, and has alighted to gratify the curiosity of her sons. We know at a glance whether the lads belong in the aristocratic Pages' Corps, on Great Garden Street, hard by, in the University, the Law School, the Lyceum, or the Gymnasium, and we can make a shrewd guess at their future professions by their faces as well as by their uniforms. The lady who comes to meet us in sleeved pelisse, wadded with eider-down, and the one in a short jacket have arrived, and must return, on foot; they could not drive far in the open air, so thinly clad.